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http://www.archive.org/details/expertsignpainte01kell 



THE EXPERT 

SIGN PAINTER 



SECOND EDITION 



A Manual of Instruction for the Beginner and a Hand- 
book for the Practical Letterer or Sign Painter. 

Giving the Methods of the Most Expert Sign Artists, with 

Plates of All the Principal Alphabets Used, with Many 

Other Illustrations ; the Former Work Revised and 

Enlarged, with Much New and Original Matter. 



BY 
A. ASHMUN KELLY 

Author and Publisher of the EXPERT SERIES of Books 

for House and Sign Painters, Interior Decorators, 

Paper Hangers and Wood Finishers. 




A. ASHMUN KELLY 

Metropolitan Building, Long Island City 

New York 

1922 






Copyright, 1922 
By A. Ashmun Kelly 




S./7 "^ 



~~~l ' 



J. F. TAPLEY CO. 
NEW YORK 






No 












CONTENTS 

PAGE 

Description of Alphabets Shown 1 

How to Space Letters and Words 32 

How to Shade Letters 40 

Description of the Pigments Used 46 

Color Contrasts 49 

Lettering Brushes and Pencils 52 

Construction and Preparation of a Sign Board ... 57 

How to Prepare and Use Gold Size 60 

Gilding Signs on Wooden Surfaces 65 

The Smalted Sign with Gilded Letter 70 

Stencilling Letters on Signs 74 

Metal Signs 78 

How to Letter Vehicles 88 

Acid-Embossing Brass Sign Plates .-..-, 91 

Some Practical Foot Notes 95 

Lettering on Oil Cloth, Canvas, Muslin, Etc. .... 97 

Silk and Satin Banner Painting Ill 

Painting Wall Signs 1 1 7 

Gilding Letters on Glass .120 

Painting Signs on Glass and Windows 130 

Glass Embossing, Etching, Chipping, Etc 133 

Notes on Acid and Glass Embossing 142 

Imitation Glass Frosting 145 

Enamelled or Porcelain, Glass, Etc., Letters . . . . 147 

Cleaning and Renovating Old Signs . 148 

Equipment for Sign Shop and Office 150' 

Aluminum, Silver and Nickel Leaf and Bronze Powders 155 

How to Charge for Your Work 16 J 

Miscellaneous Information 171 



DESCRIPTION OF ALPHABETS SHOWN 

Italic Letters and Numerals. — The Plate shown represents the 
best work of the most expert artist. When a quickly written and 
highly artistic looking sign is required the Italics are the letters to use. 

Church Text. — This style is indispensable for church lettering. 
Use the capitals wherever you can, at the same time observing good 
taste. You can illuminate the initial capital by placing around it a 

ITbtfLIC 

j#B CDETGff/JKL 
MJVOPQ71S TlfVW 
XY-I 23456789 Z& 

a6cdefaki/Mm?iopqrstuu)zyz 

neat shield in gold and bright and harmonious colors. Examples of 
this letter are given in the Plate shown. 

The Greek Alpharet. — The alphabet here given is correct and 
in its best form, having also some modern improvements. The Roman 
letters beneath the Greek give an approximate sound of the letters. 
The numerals are expressed in a similar manner to that shown in the 
Hebrew Plate. 

The Hebrew Alphabet. — This alphabet consists properly of 22 
consonants, of the Chaldean square letter. These letters are not of the 
oldest form, but are somewhat modern and now in general use. The 
vowels are represented by dots and dashes; they were not employed 
until Hebrew ceased to be a spoken language. The vowels are placed 

1 



2 THE EXPERT SIGN PAINTER 

under the letter or within it, with the exception of the O, Hholem, 
sign, which is written over the letter to which it belongs. Hebrew is 



C2 



« 





Church Text 

always read from right to left. The first ten letters are also used as the 
first numerals ; thence onward through the alphabet they become ten- 



THE EXPERT SIGN PAINTER 3 

fold, as 20, 30, etc. The units are expressed by prefixing the yodh, or 
Y, to the letters. 

The Hebrew letter was originally adapted from living and familiar 

«J A S 

"^ W O Q w N W 

AaB(3ryA6E£Z?;H7| 

A B G D E Z E 

erf 5 _3 

s s d J j j a 

©OIiKxAXMfiNvSg 

Th I K L M NX 

£ of § 

5 * 3 •- 5 £• a* 

O CL, tf CO H P. CU 

OonrtPpEosTtTuSt 

P R, S T U Ps 

bO 

-a ja a 

a, o O 

Ph Ch 

The Greek Alphabet 

objects the names of which contained the different sounds of the 
language. The first four characters, for example, are Aleph, Ox ; Beth, 
House ; Gimel, Camel ; and Daleth, Door. These letters or signs 



4 THE EXPERT SIGN PAINTER 

having nearly the sound of the Roman A, B, C, D. The language has 
no lower-case or small letters. 



© oo a oo t« <o 10 rt«*o c* »»• 




oT 6 5* .i* «} « •§ "£ ^i 



4 ^ • * i i , 1: 1 * 



^ttrrttm:DK 

KY T HehZVH DG B A 

2 2 22 22°ooo 
"^* eo c^ i-h 



&: S "^ H s .5* § d S 

Th Sh R Q Ts P I S N M 

* Finals. . ^ 

Vowbls. | g J g< 



• • 



nroi 



o uh ie eh ah aw Ts P N M K 

Hebrew Alphabet 

Script Letters. — These are the Spencerian system of letters, and 
are difficult to use in sign lettering, only the most expert being able to 
do a very fine job with them. In doing a sign with them do not cramp 
them, but allow plenty of space ; the full width of the board must be 
used, in order to give the capitals a full sweep. Be particular about 
the making of the oval form in the capitals, to get it the proper shape, 
and likewise get the semi-angular forms correct in the small letters. 



THE EXPERT SIGN PAINTER 5 

In some cases comparatively little space is required under the lettered 
line, for the lower loop of the g, y, etc., may be omitted, and the grace- 





Script Capitals 

ful, easy sweep to the left, as seen in the Plate, may be substituted, 
without violating any of the principles of the system. As a rule, the 
down strokes in the small letters may be heavy, or shaded, as it is 



THE EXPERT SIGN PAINTER 



called. Only the down strokes in the capitals should be heavy or so- 
called shaded; two shaded sides should never be together. 




Script Lower-Case and Numerals 

The Serlio Alphabet. — This alphabet is the work of Serlio, done 
in the sixteenth century, at the time of the Italian Renaissance. Ex- 
perts in lettering and artists of many nations have pronounced it the 



THE EXPERT SIGN PAINTER 7 

most beautiful Roman alphabet ever designed. It appears to have 
been adapted from the inscription letters on the Trajan column, at 
Rome, and which letters were done about 1,400 years prior to the time 
of Serlio. The easy gracefulness of the Serlio letters suggest a great 
improvement over the Trajan. This is particularly so in the case 
of letter N, and in the general abolition of the strokes of intermediate 
thickness; Serlio uses only two different thicknesses for his straight 
lines. 

ABCDEFG 
HIJKLMN 

O PQRS TV 

WX YZ 

The Serlio Alphabet 

Old English. — By comparing the Old English and German Text 
together it will be seen that the former is easier to read than the latter, 
and yet the two are often confounded together ; to the expert they differ 
essentially.. When used together indiscriminately the effect is bad, and 
the real beauty of each is lost. Each alphabet has its own distinct 
characteristics, and both are standard letters. The difference between 
the two is in the lines, Old English being a plain angular letter, and 
the German Text being without angularity, but highly ornate. Much 



8 



THE EXPERT SIGN PAINTER 



of the superior readability of the Old English is due to its similarity 
in form to the familiar Romans. While flourishes are allowable, and 
make the letter more attractive, yet they are not a fundamental part 
of the letter, as they are in the German Text. 





3HH#f><ift 




*$% $c 



©Id^nglisk 



Old English has 25 characters, letters I and J being represented by 
the one character. Letters A, D, E, G, H, K, L, N, O, Q, S, T, V 
and Z are full-space letters, while the remainder, with the exception of 
M and W, are 4/5 space letters ; M and W are 6/5 space letters. This 
on the basis of five units to a space. It should be observed, however, 



THE EXPERT SIGN PAINTER 



that while those letters described as full-space are not all such, some 
really requiring a little less space, yet in laying them out it is necessary 
to allow them fiaH -space, otherwise it would be necessary to contract 
certain lines, which^wpuld mar the symmetry, as for example: E/ K, L, S, 
and T, while riot Occupying full space in the body of the letter, yet in 
order to give graceful, lines to the curves, at Either top or bottom of the 
letter, it is necessary"' to allowNfelLspape. 



% 



\ 




Mi 



Wft|^tH^.exteption o s 



())jLp (English Lo^er-Casf 



V-J 






ft and Y the tetters can all be^placed on a 
line, N ^^ndKQ falling 1/^Tspace below/the^Kne, and the YT2/5. .space 
below. ' In drawing the N, v V and W it will add very mucrf to the 
beauty of the letter to carry the left-hand curves 1/5 space above the 
upper line, otherwise they will appear cramped, and it will be im- 
possible to give a graceful sweep to the lines. The body of the letters 






10 


THE 


EXPERT SIGN PAINTER 




rm 






> W m M 1 ft 

W i m i Wk ' 
—Jr m ^L 1 «R < 

> B K F I ^_ 


m ■ 


S 


% 


6 


Y r 


^IV ^cvv 


/*,;, ! 




German Text 



! 



THE EXPERT SIGN PAINTER 11 

should be about 1/6 of the height in width, and in such letters as C, G, 
etc., it should be made a little heavier. 

Fine lines should be hair-lines, very delicate and in proportion to 

a(*cftef#j 




ztnwxt 



German Text Lower-Case 



12 THE EXPERT SIGN PAINTER 

the size of the letter. When any flourishes are used care should be 
taken to avoid confusion of lines to maintain symmetry. 

The lower-case Old English follows the capitals in having an angular 
formation, avoiding curved lines wherever possible. 

Under the head of Old English alphabets may be listed three 
distinct forms: Anglo-Saxon, Old English and English Church Text. 
Although they vary a little in their outlines, yet they all have the 
same general formation, and undoubtedly have an identical origin. 

The German Text Alphabet. — The general form of the Ger- 
man Print letter is constant and should not be varied in its outline. 
But German Text may be varied to suit the artist's fancy or taste, 
or to adapt it to any size or form of space that is to be filled. As the 
letters are irregular in formit is difficult to give any positive rules for 
their proportion, and yet ast compared one ..'With another they are all 
4/5 space letters with the exception of Gy M, O y Q, and W, which 
should have full space. The lette'rs should be placed upon a line, with 
the exception of Y, which extends' b^loW tjieline; this is where the 
Text differs from the Print, and partakes oi'jhe Roman. The body of 
the letter should never exceed in width 1/6 df the height, and the flour- 
ishing curves should never be made so heavy as to overbalance or to 
make indistinct the general purpose of the letter. Two very important 
points are, first : To have the curves true and graceful ; second, to main- 
, tain the same direction of curves which are used in connection. The 
Tlate'shows' only a few of the necessary or supporting flourishes, in 
order that the distinctness \cjf the outline may be preserved. The 
letterer may iise his taste in the, matter, adding such extra flourishes as 
he may desire, but he should always remember never to vary the angles 
of immediate lines, which would destroy the symmetry of the work. 

The lower-case letters are made in the same proportion to the capitals 
as those of German Print, yet they vary in number, there being but 
26~characters, and in their ..construction the same care in avoiding all 
abrupt angleV-shouid be obserVed a^in forming capitals. In our Plate 
the lower-case iZL has been placed Mth the capitals to fill up the space. 

Some Genertil Remarks on the Roman Letters 

The plates showing the Roman letters, both lower-case and capitals, 
are photo reproductions of work done by expert sign painters. They 



THE EXPERT SIGN PAINTER 13 






New York Roman Capitals 



14 THE EXPERT SIGN PAINTER 

are called the New York Roman style, because for many years in use 
by sign painters of the city giving the letters this designation. They 
have long been regarded as the finest examples of the letter extant, just 
as for very many years New York sign painters or letterers have been 

abcdefg 

h i jk lmn 
opqrstu 

vwxyz 

New York. Roman Lower-Case Letters 

regarded as the most expert in their art. Hence the New York Roman 
letters are generally accepted as being standard, and while there are 
several modifications of the Roman letters, none excel the standard, 
and for general purposes none equal it. It is a perfect letter. 

In making the spur of the capital remember that it is the perfect 



THE EXPERT SIGN PAINTER 15 

quarter-arc of a circle. The annexed diagram shows its formation. 
Its base line is of the same thickness as the fine line of the letter. 
Its base length is determined by the dimensions of the circle. 

Certain of the capital Romans have tops and bases made by the spurs, 
and the widths of these vary as follows: All heavy members have their 
bases or tops 4/8 inch ; all fine-line members, as seen in A, K, N, V, 
W, X and Y, have 3/8 inch. The upright member of G has a spread 
of 4/8 inch. These proportions hold good with letters of any size. 

The curve or "spring" of certain letters, such as B, D, P and R, 
are not true arcs of a circle, the lower part showing a greater curve 
than the upper part, which brings the most prominent bulge nearest 
the top of the curve. But be careful that you do not make this effect 
too pronounced. 

Mention has been made of the cyma, a sort of flourish seen in letter 
Q. This character is also used with the French Roman letter A, 
forming the tie in the middle, and it is sometimes seen in the middle of a 
letter for the purpose of filling a too great space; likewise it is used to 
fill up spaces between letters that show too much space, such as L and 
A, when shown together. But it is never used in the New York Romans 
excepting on the letter Q. 

Illustrations of the punctuation marks have not been included in 
this work, for the reason that they are very seldom used in sign 
lettering, and when necessary it will not be difficult to get good copy 
for the work. They should be made to conform to the general char- 
acter of the letters used on the sign. 

The Boston Roman Capitals 

These handsome letters meet a want that demands an ornamental 
style combined with legibility and dignity. The main feature seen 
is the very fine hair-line and heavy body. Also, the swells seen in such 
letters as B, D, and R, are more acute than those common to the 
standard Romans. The broadening of the tops and bottoms of the 
main stems or members in certain of the letters is very unique. It is 
a rather difficult letter to make correctly, and it is not always made 
as shown in our Plate, for some sign letterers make straight or angular 
lines instead of curves at top and bottom. Two forms of the amper- 
sand are herewith shown, but the second one is usually employed. 



16 THE EXPERT SIGN PAINTER 

For practise work it is advised to draw lines at top and bottom, 
and one line through the middle, horizontally. For the spurs draw 

ABCD 

EFGH 

MNOP 

QRST 

Boston Roman Capitals 

lines at top and bottom, parallel with the two main lines, the 
lower one allowing a trifle more space than the upper one, because 
the lower spur is rather larger than the upper one. These lines 



THE EXPERT SIGN PAINTER 17 

XYZ 







345 
QZH90 



Boston Roman Numerals 



18 



THE EXPERT SIGN PAINTER 



are merely guides. Also draw vertical lines on either side to form 
a letter-space, and in some cases draw one through the middle, verti- 
cally. Cases of the latter kind may be found in letters V, M and W. 
What has been said regarding drawing the standard Romans will serve 
in a measure for this alphabet. 

The numerals of this alphabet may be practised as directed for 
those of the Standard Roman ones. 

The French Style Roman Capitals 

Our plate shows a light form of this beautiful letter. It may be 
made much heavier, this according to the use the letters are to be 
put to. In ruling lines for practise work with this form of letter 

123345 

67890 

Variant Form of Boston Numerals 

there will be need of four, as letters B, C, E, F, G, H, P, R, S, W, 
Y and ampersand require a space at top of 2/5, while the letters A, 
K, N, Q, X, require a space at bottom of 3/5. 

Note the frequent use of the cyma in this alphabet as in A, for 
its cross-bar ; in C, to fill space and add grace ; between M and L, 
again to fill up excess of space; in Q, where it properly belongs, as 
in the Roman Q; in W, again to fill space, this time serving to take 
away the appearance of too great width in that letter; finally in &, 
where it makes a most graceful part of the ampersand. 



THE EXPERT SIGN PAINTER 19 




J- N en 

82gN 





w 



U 

Iz; 

< 

o 
< 

H 
i? 
W 

a 
< 

M 



20 THE EXPERT SIGN PAINTER 



ABCDE 
FGHIJ 

KLMNO 
PQRS 

TUVW 





Antique Roman Capitals 



THE EXPERT SIGN PAINTER 21 

abcdefg 

hijklmn 
opqrstu 

ywxyz 

12345 
67890 



Antique Roman Lower-Case 



22 THE EXPERT SIGN PAINTER 

The numerals that go with this alphabet are quite in keeping with 
the peculiar formation thereof, and are easily made. 

Ornamental Roman Capitals 

This handsome style of Roman letter is particularly adapted to gold- 
leafed signs on windows, or wherever an .ornamental letter is required. 
It is essentially a true Roman letter, and its ornaments do not dis- 
guise the fact. It will be found easy to make, though care must 
be observed to get the ornamental parts equally formed, preserving 
the proper uniformity of one letter with another. 

In practising work draw ruled lines so that they will serve as 
guides to all the parts, as at top and bottom and through the middle, 
horizontally. 

The' Antique Roman Capitals 

This is another variation of the true Roman letters, and presents 
less change than that of the Boston Romans; in fact, the changes are 
slight in all of these letters, and some do not differ materially, as in B, 
D, H, I, K, O, Q, X, the only difference being in the fine lines, which 
are lighter in the Antique than in the New York Roman. Note 
particularly the top of A, the spurs in C, E, F, G, L, S, T, Z, and 
the M and N, V, W, which have features like letter A. The amper- 
sand also is different from the Roman in other alphabets. 

The Antique is much lighter in form than the Roman standard, 
though some sign painters do not make it lighter, but quite the same 
as in New York Romans. 

Some years ago this form, of letter had great vogue, and even now 
it is a favorite with many, owing to its undeniable beauty of form 
and pleasing appearance in a sign. For practise work lines may be 
drawn as directed for the New York Romans. Letters J, P and 
Y differ from the true Romans in falling below the line. 

Antique Roman Lower Case Letters 

Like the Capitals, the Antique Roman small letters have a re- 
semblance to the standard Romans, but with a very noticeable difference 



THE EXPERT SIGN PAINTER 23 

in spurs, etc. In practise work draw five horizontal lines, the upper 
space having 1/8 less width than the three others, with the exception 
of p, q, and y, on lower space, and t in upper space, in both instances 
requiring 2/8 inch space. In making the lower case letters, in any 

ABCDEr 

GHMKL 
MNOPQ 

RSTUV 
WXYZSc 

Ornamental Roman Capitals 

alphabet, it will be found better to include all those letters which re- 
quire certain spaces in one line, a line to each requiring different 
rulings. For instance, letters c, i, m, n, o, r, u, v, w, y and z may 
be formed in a space of 3/4 inch with horizontal line top and bottom. 
Letters b, d, f, h, i, j, k, 1, t may be formed in two lower spaces 



24 



THE EXPERT SIGN PAINTER 



w 

D 

5 

h 
X 
u 



8 

W 

8 









Oh X 






o £ & 

PQ ^ 0) 



THE EXPERT SIGN PAINTER 25 

of 3/8 inch each, and upper space 2/8 inch. Letters a, e, g, k, x may 
be formed in the foregoing spaces, but have in addition a central 
horizontal line. Letters g and j require as above and also a 3/8 inch 
added line below. 

The Antique Roman Numerals 

These may be ruled as in New York Romans, and otherwise re- 
quire little description; they are easily formed with the pencil or 
brush, and are quite in harmony with the alphabets of this series. 
They are a useful and much used numeral, not only because easily 
made, but also and more to the point, they are a handsome numeral. 

The Gothic or Egyptian Capitals 

Printers call it the Gothic, and certainly it is not an Egyptian let- 
ter; why it was first so misnamed is not known. Some sign painters 
call it the unfinished block, or half-block. Its general formation is 
much similar to the block, particularly the round block. One of the 
chief advantages of this form of letter consists in its adaptability to 
a crowded space; having no projections, as spurs, etc., it can readily 
be crowded up without making the work look bad. Having no 
spurs there is less space between certain letters than in spurred let- 
ters, hence avoiding many difficulties in spacing. Properly made 
they are never a spreading letter, and they look better rather con- 
densed in form. Plain as these letters are they possess a certain beauty 
of form that appeals to one. While not used to any extent on good 
sign work, they are simply indispensable in cheap and quick work, as 
on oilcloth and muslin, etc. In thickness they should be a trifle more 
than 1/5 the height of the letter. By drawing horizontal lines top 
and bottom, with another running mid-way, you have good practise 
guides. Note the corners of Z cut off; otherwise they would appear 
to make the letter too wide. Note that the turn of J is cut at a slight 
angle, not being left square cut. So also with C, S. 

The ampersand conforms admirably with the style of the letters 
it goes with. 



26 THE EXPERT SIGN PAINTER 



ABCDEFGH 
IJKLMNOP 

ORSTUVWX 

YZ& 

abcdefghijklmn 

opqrstuvwxyz 



Gothic or Egyptian Letters 



THE EXPERT SIGN PAINTER 27 



Lower-Case Gothics 

These letters should be ruled so as to form a guide for making 
the turns on letters a, b, c, d, e, g, h, o, p, q, r, s, u and z. An eighth- ' 
inch space does this. While a quarter-inch space top and bottom does 
for the letters b, d, f, g, h, i, j, k, 1, p, q, y, the t requiring a little 
less space. Thus, by drawing two horizontals 3/4 inch apart, and 
between the two draw one at the upper part 1/4 inch wide, the same 
at the bottom, then enclosing the small letters like a, c, w, etc., with 
two horizontals, with two next to same and of 1/8 inch width, you 
will have a good guide. 

The numerals used with Round Block letters may also be used with 
this alphabet. 

The Round Block Capitals 

These are a wider and squarer built letter, or .what some painters 
term the plug type. But the chief difference is in their having blocked 
terminals. Such a form is employed for lettering railway passenger cars, 
as they are easier to make than the Romans, and can also be elongated 
very much and safely, which cannot be done with standard Romans 
nor with Gothics, or indeed any other form. Of course, we not 
infrequently see cars lettered with a form of Roman in which the 
letters are much elongated, but they never look as well as the block. 

All parts of this form of letter are made the same thickness through- 
out, though some make the bottom parts a very little heavier. Also, 
note in letters C, G, S, that in order to make the spurs show dis- 
tinctly the curved line is made a trifle thinner where it joins the spur, 
so it will make the spur more in evidence; some simply notch the 
spur at that point, but this is not advisable, as it never looks right. 
Better thin the curve a little, and draw the line from upper part of 
spur on a gentle curve down to the curved member. Some sign painters 
leave no break whatever at the spur, to show it plainer, but make the 
curved line square across the spur. This gives a heavy effect to the 
letter, but is to be preferred to the notch. 

In practising this letter draw lines horizontally through the letters, 
top and bottom, and in between, to fit the thickness of the horizontal 



28 THE EXPERT SIGN PAINTER 

parts; also rule vertical lines, to show the width and location of the 
members. 

The Round Block Numerals 

It is rather difficult to make some letters round and at the same 
time blocked, as with O, for instance, and it is the same with the 



ABCD 




FOHI 

JKLMN 

OPQR 
STUVW 

xyz& 



Round Block Capitals 



THE EXPERT SIGN PAINTER 



29 



numerals. Draw horizontal lines as required, and vertical spaces, and 
it will be found easy enough to make these numerals; they go also with 
the Gothics. 

The Full Block Capitals 

With the exception of a difference in their angular forms, this let- 
ter being rather taller and more angular, the full block is simply a 
variation of the round, or vice versa. It is a tedious letter to make, 
and not often used by the sign painter. It is useful when you want 

1234567 



890 




Round Block Numerals 

a letter to shade or to imitate a relief letter, as those cut in stone, but 
the making of all the little straight cuts, as around the letter S, for 
example, consumes time when done with a letter-pencil and brush. 
It is much easier to run the curve. This is why the S of this series is 
usually made the same as a round block; but to preserve harmony of 
form every letter in a sign should be blocked, including the S. 

The full-block letter originated with the stone cutter, it being much 
easier made than a rounding letter. To practise drawing it make 
horizontal lines top and bottom, with other lines paralleling them 
and in width accommodating the width of spurs and members. 



30 THE EXPERT SIGN PAINTER 

abcijl 

FGHIJ 

KLMN 

OFQRS 

TUVWX 

YZ& 



Full Block Capitals 



THE EXPERT SIGN PAINTER 31 





jcdefg 

hijklmn 

opqrstu 
vwxyz 

12345 



6 7890 

Full Block Lower-Case Letters and Numerals 



32 THE EXPERT SIGN PAINTER 



Lower Case -Full Block Letters 

Horizontal lines may be run the same as indicated for the Gothic 
lower case letters. Also upright spaces, to fit width of members and 
spurs. Study each letter with care, and aim to make yours as near 
like as possible. Note the small notches in letters d, g, h, m, n, p, r, 
and indents in s, etc. 

Numerals Used with Full Block Letters 

These agree well in form with the letters, both Capitals and lower 
case, of the Full Blocks. They require little or no description, and 
ior practise need only to be ruled properly. 

Ornamental Letter on Glass. — This is merely a suggestion to 
the learner; it is easier to do than most other letters, hence suitable 
for the first effort". The black outline of letter and circle represents 
burnished gold ; the ornamental interior is to be done in dull gold. 
The interior shading is the dull gold deepened with a strip of trans- 
parent color. The scrolls from the circle may be outlined and worked 
up in burnt sienna. The shade represents the split blended shade. 
The interior of circle represents sheet pearl with a metallic flitter 
background. 

The dark outlines are to be done in burnished gold ; the upper 
interior dull gold or burnt umber ; center to be inlaid with pearl backed 
up with burnt umber. Lower interior is burnished gold striped with 
burnt sienna or burnt umber, to imitate weaving. Shade with blue 
or black. 



HOW TO SPACE LETTERS AND WORDS 

No matter how well done the lettering, unless the letters are properly 
spaced, each to its fellow, and the lines of letters with each other, 
with also a well proportioned allowance of space at the ends of the 
lines, the sign will not appear well done. As a rule, the learner 
crowds his letters, the next fault to which is that he also makes his 
letters too heavy. He will also try to fill up his space, as though 



THE EXPERT SIGN PAINTER 33 






u 



« 







34 • THE EXPERT SIGN PAINTER 

it were something very objectionable; but if he will study well-made 
ads. in the papers he will see that, much is made of white-space, as 
it is called. A favorite method of the novice is to make some orna- 
ments to fill the vacant spaces, and in this he makes his worst errors 
of judgment. A fair proportion of open space is an advantage to the 
appearance of a sign. But the letters and lines of letters should be 
well balanced in regard to the space. For the beginner there are some 
short-cuts at his command. Here is one for a small sign, and the small 
sign is the best to begin with. Take a sheet of paper the size of the 
sign board and on it outline the letters' spaces. Then fold the paper 
in the middle, which will give the center of the line of letters. The 
crease then should be placed on the center of the lines in which the 
letters are to go, on the board, and then spread out the paper. Now 
mark off the letter spaces from the paper on to the board ; this will 
prevent the soiling of the board, as would be done by marking direct 
on to the board. It will give the exact spaces between letters and 
at ends of lines. 

Another way is to draw the letters on paper and prick them out 
with an awl or coarse needle, and then with a small bag of cheese- 
cloth, filled with whiting or ochre, pounce the letters on to the board. 
If the ground of the sign is white then use pulverized charcoal. This 
is really simply a device for reproducing a lot of small signs, and 
neither this or any short-cut is advised, the better plan being to master 
the art by means of the eye, for even though the spaces thus made 
may not be exactly true, and of course they never are, even with 
the expert, yet the finished job will look all right. So learn to do 
your spacing with your eyes. 

The expert method is as follows: Say it is a sign board of average 
dimensions, or about 18 inches by twelve feet, and that the board has 
been painted and made ready for the lettering; place it on the easel 
or pair of easels, and with a chalked cord snap a line at top and 
bottom of space wherein the letters are to go, with proper allowance 
of space top and bottom, then lay out the letter-spaces, with the words 
in your mind that you are to place on the board ; thus as you proceed 
each letter will be given its relative width, and the spaces their proper 
areas. This is done rather roughly, the idea being to get an ap- 
proximate idea of the position of each letter. This requires time to 
become proficient in, and hence lots of practise. 



THE EXPERT SIGN PAINTER 



35 



Where a single letter begins a line it is the rule to give it the 
same space as that between two words. 

When an initial letter begins a line it is given the same space as 




LnJ 



© 





t 



5> 




y^ 









Outlined or Skeleton Capitals 



36 THE EXPERT SIGN PAINTER 

that given any other of that line of the same dimensions. Some sign 
painters allow it rather more space, but that this is wrong may be seen 
in the following example: "Vernon." 

When a line of letters consists of capitals the first letter should be 
made a little larger than the following letters. Just how much larger 
must be left for the eye to decide, but it should not be too large. 
This refers more especially to the height of the letter. Some like to 
have the first letter on a line of capitals slightly higher than the rest, 
this being done with the first letter of each word on the line. But 
such letters should not be made thicker than the others on the line, 
but if anything a trifle thinner. Accent the size, and not the weight or 
bulk. 

It would simplify the laying out of a sign were all the letters of 
the same dimensions, taking exactly the same space. But unfortunately, 
or otherwise, this is not the case. Take the round-block L letter, for 
instance. We find that A, K, M, V and X do with the same width. 
Also that a different width but one that is the same for each letter, 
is used in placing B, C, D, E, F, L, O, P, Q, R, S, T, U, and Z, and 
including the ampersand, &. The letter I takes 1/4 less space than is 
required by the foregoing list. Letter J requires a little less space than 
B, C, etc. Letters K, M, V, X, and Y require an equal space. Let- 
ter H takes a little wider space than letters A, B, C, etc., while N is 
a little narrower. The letter W is the widest letter. 

Certain letters are more difficult to space than certain others. The 
following letters are considered to be rather more difficult to space 
when placed in certain word combinations: 

FTWAVLJPJLTTN 

The rule in this case is, that the relative position of letters should 
be such that there will be about the same amount of space between 
each two letters; thus, an A coming after an L, the two should be 
closer together at the nearest point than the two letters I and H. Tak- 
ing the word TIT, it will be apparent that in order to preserve balance 
we must place the I close to the two T's. But in the case of HIH more 
space may be allowed. In the word, KINGDOM, the letter I may be 
closer to letter K than to the N. The D a very little closer to the 
O than to the G, and the O closer to the D than to the M, and so 




THE EXPERT SIGN PAINTER 37 

<SlhS "So- 



w 




XI 



a 

H 

o 

125 

< 

o 

H-t 

tn 

H 

Q 
O 

PQ 

M 

H 

5 

P3 



38 THE EXPERT SIGN PAINTER 

on. Round letters should be spaced close, but square letters may be 
allowed more space. Such letters as H and M are square ones, and 
letters A, L, W, Y, etc., are spaced close. 

While too much space is to be avoided, yet there must be no crowding, 
unless this is unavoidable, as it sometimes is. If the space given to a 
line is not sufficient to hold the letters without crowding it is better 
to use a style of letter that will be better adapted for the purpose; 
letters without spurs, for instance. And if the line is to hold rather 
few letters as related to the space given, it is advisable to use a fat 
letter, or the Romans, the spurs of which will help fill up the space. 

The space above and below the line of letters may be allowed 1/8 
the width of the board. The space between the lines may be given 
rather more than this. The space between the words should be about 
the width of an average letter. As so much depends upon circum- 
stances any hard-and-fast rules cannot avail. 

When laying out a sign that is to be hung rather high, the distance 
from the ground to" the sign must be taken into account; the letters 
must be large enough to read easily from the ground, no matter where 
the sign may be placed. All fine lines must be broadened proportion- 
ally. If you have access to a sign that is to occupy about the same 
relative position as yours get the size of its letters, and that will save 
you time and maybe mistake. Or you can make some letters and place 
them at the height your sign is to occupy and see how they look. But 
the letters had better be too large than too small. Large letters may 
be desired by the customer. Then the size of the board must be con- 
sidered. Also, there are certain letters that require looking after spe- 
cially, as they may not look right on a high sign, although in the shop 
they may appear to be perfectly right. The letter O, for instance, 
will appear narrow-chested when seen on an elevated sign-board, unless 
made fuller than normal. 

Never condense a letter more than 2/5, nor extend a letter more 
than 5/5. Certain letters are well adapted to the lengthening pro- 
cess, while other ones may be better adapted for the shortening pro- 
cess. For the latter purpose use the Gothic, the French Romans, and 
the half-block. For extending use the block letter, also the Roman 
of various forms. 

The purpose of an extended letter is to fill the space allowed for the 



THE EXPERT SIGN PAINTER 39 

inscription. Condensing is necessary where space is rather limited 
or not sufficient for the regular letter. 

Proportion has to do with spacing, because there are occasions when 
it is necessary to alter the form of a letter that may fit the space allotted 
to it, or that is not otherwise provided for. It is simply a matter of 
changing proportions. 

To get true proportions of letters rule some paper so that there will 
be say 25 equal squares to the letter of average size. Ruling to fifths 
is about the most convenient spacing. Let us take the Roman capitals. 
What for convenience we shall call normal size letters are B, C, D, G, 
K, P, R, S, T, X and Z, with also the ampersand, &. 

Ctjpiral Gfothir Capitals. 

H©aOGB6(DX 



D 




2i 



Letter requires 1/5 more space than normal. E, 1/2 of 1/2 less. 
F, same as E. For H deduct 1/4 of 1/5. Letter I requires only 1/5 
space. Deduct 1/5 for J. The same for L. Add 1/5 for M. De- 
duct 1/2 of 1/5 for O. The same for Q. For U give 1/4 of 1/5 less. 
To V add 1/2 of 1/5. Letter W needs 2/5 more space. To Y add 
1/2 of 1/5 more. 

The rule also applies to capitals in full-block letters, while T is 1/2 
of 1/5 less in the Gothic letters. The same rule also applies to con- 
densed and extended letters. While in L, E, F, H, J, N, and T the 
narrowing may be even more without injury to the letters. Capitals 
such as C, G, O, and Q should be a little closer to each other than 
others, owing to their fuller sides. While the letters B, D, E, H, K, 



40 THE EXPERT SIGN PAINTER 

M, N, R, U, S, X, and Z may be allowed a little more space between. 
All open letters, as A, F, J, L, P, T, V, W and Y are to be placed 
close together. 

Simple Spacing Method. — The unit employed in this method is 
that of a letter of average width with also the space allowed between 
the letters. Space between words, one unit. The available space in 
each line is divided into units of equal size, and in number equal the 
number of letters, plus the word-spaces. The first letter is sketched to 
touch the left-side of the first unit ( space). The second letter is in 
the same position as the first, in its units, leaving a part of the units 
vacant on the right to serve as open spaces between the letters. 

There are three sources of variations that upset this regularity, 
namely: First, the different widths in letters; second, variety in spaces 
between the letters; third, different spaces between words. An ex- 
treme instance of the latter is a word interval with H on each side, and 
one with L on the left side and A on the right side. To look alike, 
the first space must be much larger than the second. The plan is 
to make the various spaces compensate each other, and to gain on I and J 
the space lost on the M and W. In one part of the line the letters may 
be in the centers, or touch the right of their unit spaces, and sometimes 
be even further from a regular position. Even so, by watching the 
progress of the work and looking forward it is easy to bring the last 
letter against the right-hand limit of its unit. 



HOW TO SHADE LETTERS 

There are six forms of shading, as follows: 

The Relief Shade. — The shadow is cast away from the letter, 
leaving an open space between letter and shadow. This is the most 
used of the six shades. 

The Close Shade. — The shade joins the letter, which thereby 
forms a block letter. 

The Double-Shade. — Two close-shades of different tones of one 
shading color. 

The Drop Shade. — The shade drops below and away from the 
letter, as in Relief. 

The Double Relief Shade. — Two relief shades. 



THE EXPERT SIGN PAINTER ' 41 

The Blend Shade. — This shade is used on all outlined letters 
shaded with several colors, all of which are softly blended together. 
On the outer edge of the letter is another outline like that surrounding 
the letter itself. 

The purpose in shading a letter is not merely to give it a more 
ornate effect, but in some cases it enables us to take up a surplus of 
space. 

The angle of a shade is called a "slant," and it is usually, though not 
always, made at 45 deg. The eye of the expert is sufficient in fixing 
this slant, but the beginner may use a protractor, that may be made 
by drawing a circle on cardboard with compasses, then with the same 
tool dividing the circumference into eight equal parts, each radiating 
line giving the angle of 45 deg. Or in place of a circle use a square, 
run a line from opposite corners, then run a horizontal and a vertical 
line. This will give eight sections, each radiating line at an angle 
of 45 deg. 

The easiest letters to shade are the Gothic or so-called Egyptian, 
and the block letter. Letters that have some fine lines, such as the 
Roman, for instance, do not lend themselves well to shading. Litho- 
graphers and glass sign painters shade and otherwise ornament fancy 
letters that have fine lines, but for the ordinary sign painter the plain 
letters mentioned are recommended for shading. 

It has been urged that a flat painted letter cannot be considered 
as conforming to the laws of light when it is made to show a shade. 
That a flat object cannot cast a shadow. This may be overcome by 
making block letters, which will appear like those cut out of wood, and 
when shaded the deception is clever enough to shame criticism. Nor 
can there be any objection to shading a flat painted letter when the 
intention is merely to make it more ornate. 

To conform to Nature a shade should never be in such a position 
that it could not be cast by the sun ; for instance, say a line of letters 
are below the range of vision, as on the lower edge of a window; it 
would be wrong to place the shade on the upper part of the letter. It 
is sometimes done. The same rule holds with the swing sign, the 
shade should show from the bottom of the letter. 

It improves a block and shaded letter to run an outline around it. 
If this is not desired, then do not let the shade color touch the letter, 
but let there be a little space between shade and letter. 



42 



THE EXPERT SIGN PAINTER 





12345 



German Lower-Case Numerals 



THE EXPERT SIGN PAINTER 43 

Whether the color of the blocking shall be darker or lighter than 
the face of the letter will depend upon the way you shade it. If the 
cast shade is to be on the same side of the letter as the blocking then 
the blocking color must be darker than the face of the color and the 
ground color. But if you do the blocking on the side of the letter 
opposite the shading, the blocking, being in full light, must be lighter 
than the ground color, and slightly darker than the face of the letter. 

Blocking may be done with any harmonious color. 

Shades are best made with such colors as umber, sienna, Vandyke 
brown, black, japan, or any transparent color having the requisite 
color tone. 

Shades should be cool and quiet in tone. 

The breadth of a shade should balance the body of the letter; if too 
broad or too heavy it will detract from the beauty of the letter. 

A shade had better be too light at the start and then be worked up 
gradually to the full effect by shading. 

The color of a letter that is to be shaded should be made to agree 
with the color of the ground. 

Certain colors are suitable for almost any colored ground ; for in- 
stance, glazes of ivory black, Vandyke brown, burnt umber, asphaltum 
and burnt sienna. 

A shade should be of such depth as to show merely as a shade. This 
rule is especially good where more than one shade to the letter is used. 
The width may be 1/5 the width of the part that is to be shaded, but 
this is not a rule ; the shade may be heavier or lighter, according to 
taste or circumstances. 

As a shadow is less than the substance, so should the shade be lighter 
than the letter. The shade should never be too strong. 

For optical reasons the bottom shade should be a little wider than 
elsewhere. 

If the ground is darker than the letter, the shade should be two 
or three times darker than the ground, unless the ground is black, 
in which case the shade should be some bright color, a line or blended 
shade. It should be observed here that the blended shade is the most 
difficult to make. In the case being considered in this paragraph it 
must be a close-up shade, the shade either touching the letter, or very 
near it. 

Some make a shade color from the letter color, adding a little white. 



44 THE EXPERT SIGN PAINTER 

Thus, a black letter would have a warm gray shade; a red letter a 
pink shade. 

When shading on a blue ground, make the shade about three times 
darker than the ground, but warm it a little with red. For a second 
shade and the darkest use Vandyke brown or Indian red in the blue, 
to warm it a little. 

For some signs a vermilion shade, darkened at the bottom with 
some brownish-red, say Indian red, is allowable. But the black letter 
on white ground should not have a bright colored shade. 

A good effect may be had by running a line of color that is two or 
three shades darker than the shade color on the inner side of the shade, 
next to the letter, leaving the usual blank space. 

For black letters a good shade may be made from Vandyke brown, 
tinged a little with blue, adding a little white, to tone the color down 
to the desired shade. 

The black letter on a white ground needs no shade, yet it is often 
done and is permissible. The color of such shade is usually stone 
or lead of light tone. These colors are made with white lead tinged 
with lamp-black, though drop-black gives a better tone. An improve- 
ment also may be made in the shades given by the addition of a very 
little yellow ochre. 

Glossy letters should be shaded with flat color. Letters done in 
flat lead color, or in water color, should be shaded with flat color. 

Shading on Glass. — This is done by sketching the space intended 
for the shade on the outside of the glass, and filling in on the inside 
of glass. Outlining also is done on the inside. The outline, usually 
black, may be mixed with a slower color than the backing-up color, 
and sign painters' black, mixed with a hard-drying varnish, is advised. 
Let the job stand for two or three weeks after the backing-up, then 
apply a coat of spar varnish, and let the varnish extend a trifle over 
the color to protect its edges. Mix all shading color with either spar 
or rubbing varnish. Let it have ample time to become hard-dry. 

Shading and outlining are done at the same time; the outline ex- 
tends about 1/16 inch over the edge of the letters, this width being 
increased according to the size of the letters. The shade should be 
about 3/4 the width of the main stem of the letter, though this, as 
previously stated, is not a strict rule. Leave a space of ordinary width 
between shade and letter except where the letter is of a lighter color than 



THE EXPERT SIGN PAINTER 



45 



the ground, unless the shade is close to the letter. The space between 
a 6-inch letter and the shade may be 3/8 inch; and 5/8 inch for a 
12-inch letter, and so on. This, again, is not a hard-and-fast rule; 
circumstances govern cases. 

In conclusion of this part of our work a few words concerning the 
more mechanical side of the art of letter shading may be useful. Which 
side of a letter should be shaded ? It is an interesting question, and the 
advocates of both right and left side shading present very good argu- 




Ornamental Glass Sign Letter 



ments. But throughout past time, in the shops where apprentices were 
given instruction in sign painting the uniform practise was to shade on 
the left-hand side. And it is safe to say that at least nine-tenths of 
sign painters to-day shade that way. Rapid sign letterers and show 
card writers say that better speed is obtained in this manner of shading 
than by the opposite way. And speed is now the important thing in 
sign lettering, quality of workmanship taking second place. 

It is noticed that the correspondence schools that teach lettering 
use the left-hand shade. 



46 THE EXPERT SIGN PAINTER 

It is no doubt easier to shade some letters at least from the left side, 
as, for instance, the Gothic letter E. Shading on its left side requires 
only four strokes of the brush, as against eight required for shading the 
front or right-hand side. And some forms of letters do not look well 
when shaded on the front side, such as the Roman E, G, etc. 



DESCRIPTION OF THE PIGMENTS USED 

The sign painter requires the use of all the different pigments in 
his work, the list embracing those employed by the house painter, in 
oil, those of the vehicle painter, in japan and turpentine, and the tube 
colors of the artist and water colors of the decorator. He also needs 
very fine colors for his best work, while the common pigments, embrac- 
ing white lead and zinc, and the common oil colors, answer for cheaper 
work. The pigments most useful to him are chrome yellow, Naples 
yellow, flake white>. French yellow ochre, raw and burnt Italian sienna, 
Indian red, vermilion, crimson or scarlet lake, rose madder, ivory drop 
black, lampblack, Prussian blue, ultramarine blue, and emerald green. 

A brief description of the principal pigments used follows: 

The Whites. — Pure white lead, ground in oil, is used for grounding 
sign boards, and for certain other purposes ; it should be pure basic 
lead carbonate, ground fine, and have a pure white color. So-called com- 
pound lead does well enough for certain rough work, but should never 
be used on good work. Some brands of white lead are very white, 
while some others are rather dark. The addition of some zinc white 
will make a dark white lead whiter. But it is best to buy the lead 
that is white without zinc white. Flake white comes in tubes ; it is a 
superior form of lead carbonate. It is very white and has good cover- 
ing qualities, being particularly useful for making white letters. But 
if the job of white lettering is extensive, zinc white may be used in- 
stead. 

The thinning fluid for white paint for sign work is made with 
turpentine two-thirds, and very pale copal varnish one-third. For the 
driers the best pale japan is used. For dark lettering ordinary best 
japan will do. 

The Blacks. — Ivory drop black is the purest and deepest of tone. 
It should be ground in turpentine, for sign work, with gold size and 



THE EXPERT SIGN PAINTER 47 

a little varnish for a binder. If too much turpentine is added and 
not enough varnish to meet this condition the color is apt to rub up. 
Where greater durability is desired than drop black gives, use lamp- 
black instead. The two blacks may also be mixed together in equal 
proportions, making a black of good color and durability. It is a good 
black for general run of sign work. As lampblack is greasy it requires 
more driers than is good for its wearing. This grease may be re- 
moved from it by calcining, without injuring it; place the lampblack 
in a shallow vessel, pour on it a little alcohol, then set it afire; in a 
little while the fire will have burned the grease out. This rather 
improves the quality of the black, making it spread easier, and at the 
same time helping its tone. Where black lettering is desired without 
gloss, or absolutely dead, calcined lampblack is useful. For water color 
work dry lampblack is cut with vinegar or alcohol, after which it will 
mix readily with water or colors. For lettering on muslin the black 
is thinned with benzine. For certain kinds of sign work lampblack 
may be mixed to a paste with turpentine or benzine and adding from 
time to time, as it is being used, a little raw oil, working it about until 
like soft butter. 

The Blues. — For exterior work use ultramarine blue ; if a deeper 
shade is desired add a little black. This is the only blue that will stand 
exposure to the weather. Prussian blue, as also black, may be used 
to darken ultramarine blue. Prussian blue is a very powerful tinter 
but is not a stable color. One of its worst faults is that it spreads in 
lettering. The addition of a little limewater will correct the fault. 
Or the addition of a little zinc white, this being very useful when 
lettering with the blue. on a zinc white ground. 

The Reds. — The safest reds for exterior sign work are Indian, 
Venetian, and light reds. Madder lake also is good. Indian red is 
useful for toning down vermilion when it is desired to darken it. 
The dark shades of English vermilion are the most durable for ex- 
terior work. Chinese vermilion is brighter and finer than the English, 
but is more costly. Either of these vermilions will darken when laid 
on grounds containing lead salts, such as white lead and drying japan. 
As driers commonly used darken vermilions it is advised that they be 
thinned out with raw oil and turpentine, with a little quick-drying 
varnish for the drier. If it is desired to varnish over the red, then 
add a little crimson lake, to counteract the color of the varnish ; use 



48 THE EXPERT SIGN PAINTER 

pure crimson lake only. Vermilion does well on a Venetian red ground. 

Chinese vermilion is thought to improve with age, after its applica- 
tion to a properly prepared ground. It is particularly good for let- 
tering on a white ground. Owing to the brightness of its tone it 
brightens any sign work on which it is employed. When using it, 
mix enough for the job in hand, for if you run short it may be difficult 
to make another mix of exactly the same shade. 

Quicksilver vermilions are all liable to tarnish, but they are more 
durable and satisfactory than the artificial ones. The former tend to 
darken, while the latter become paler, according to their kind and 
quality. Any artificial vermilion that gets its red color from aniline 
dye will quickly fade, though recently great improvements have been 
made in this direction, so that the fault noted is now not so serious as 
formerly. Vermilions made on a lead oxide or orange mineral base 
do fairly "well, unless dyed with fugitive aniline red. Such vermilions 
answer very well for muslin work, where durability is a minor mat- 
ter. They will mix with other colors but had better not be so mixed. 

Transparent Pigments. — These are required for painting on 
glass; these colors are: Prussian blue, crimson lake, Indian yellow, 
burnt Italian sienna, lampblack, and the aniline dyes mixed with white 
shellac. The aniline colors do for temporary work only, as they are not 
fast against the light; they give very beautiful colors though. For 
mixing pigments named, exclusive of the anilines, take two parts of 
Venice turpentine and one part of common turpentine. 

Permanency of Pigments. — Chrome yellow darkens under the 
influence of air containing sulphur. It is a lead pigment, and with it 
sulphur forms black sulphide of lead. Chrome yellow also fades badly 
under exposure to light and air. Prussian blue, cobalt blue, Antwerp 
blue, and indigo blue all fade, alone or in combination with other 
pigments. Green produced by the mixture of chrome yellow and 
Prussian blue is not permanent. A green less bright than chrome green 
but more permanent can be made from French yellow ochre tinted with 
lampblack. Carmine lake, vermilion, and chrome red are unstable 
under outside exposure. Burnt and raw sienna, burnt and raw umber, 
French yellow ochre, Vandyke brown, and all earth colors are con- 
sidered as being permanent under exposure. Venetian red, Indian red, 
light red, and madder lake are permanent pigments. By the term 
permanent is meant that the pigment is reasonably proof against strong 



THE EXPERT SIGN PAINTER 49 

sunlight, acids, gas, fumes, etc., and that it will not alter its tone within 
a reasonable period. Pigments produced by the aid of heat will alter 
under the influence of heat of a different temperature, and will assume 
a different tone, becoming darker. Pigments produced by a dyeing 
or staining process, fixed by a mordant upon a base, such as rose pink, 
for instance, and which is made by precipitating an unstable lake color 
on a whiting base, will fade out. 

Such, briefly, are the reasons why certain colors fade, while others 
darken. Some are affected by alkali, others are not. Alkalies do not 
affect Venetian red, ochre, cobalt blue, ultramarine blue, cobalt green, 
ivory drop black, zinc white and barytes. All the other pigments will 
suffer more or less in contact with an alkali. 



COLOR CONTRASTS 

The coloring of a sign board is of equal importance with the letter- 
ing. The amateur usually selects a too florid color scheme, just as 
he also undertakes a too ornate style of lettering. He should realize 
that the plainest way is the easiest way, and most likely to give pleas- 
ing results. A plain white ground and plain black letter, that is the 
proper layout for him. And here are some rules to guide him in 
the choice of colors. 

To secure perfect legibility the letters must be in strong contrast 
with the ground ; for this reason the black letter on a white ground is 
the most common. 

Usually light-colored letters on a dark ground look better when 
placed close together; probably because this arrangement covers more 
of the ground. A pleasing and compact effect may be obtained by 
drawing the outlines close together and filling in the intervening spaces. 

Have all tones of reds, blues, greens, etc., well balanced; be care- 
ful in the choosing of colors ; when, for instance, you need a bright red 
avoid a fiery red ; and if a warm red, don't choose a too dull red. This 
is a good rule in the selection of any color ; be sure you get the right one. 

For a delicately tinted ground choose an equally delicate color for 
the letters; avoid harsh coloring. 

If the letters are to be shaded and the ground is a silver-gray place 
a white line between letter and shade. If the ground is white tinted 



50 THE EXPERT SIGN PAINTER 

with yellow ochre, making a delicate shade, use a bright straw-tint line 
between letter and shade. 

For red on blue ground it is best to use vermilion and ultramarine 
blue; the latter should be a navy-blue shade, rather than dark or royal 
blue. Such a sign will be improved in effect by outlining with white 
or pale blue, or with straw color; and a gold outline goes well; such 
outlines cause the letters to stand out clear and distinct from the ground. 

For billboard signs the following table of colors has been made as 
being most desirable. 



Ground 


Letters 


Shade or Line 


Light yellow 


Red 


Black shade 


Mustard yellow 


Deep blue 


Black shade 


Mustard yellow 


Red 


Black shade 


Mustard yellow 


Deep blue 


Vermilion shade 


Yellow 


Blue 




Bright orange 


Vermilion 


t 


Deep orange 


Black 




Orange 


Navy blue 


White shade 



Owing to contrast of tone the best of the above color combinations 
is yellow and blue. A light yellow ground with normal red letters is 
improved by an outline of black, which introduces a contrast of tone. 
A shade is sometimes given the letters, but the outline looks better. If 
the letters are in a deep crimson instead of scarlet the effect, for some 
positions, would be sufficiently strong without shade or outline. In 
fact, the black shade, close up to the letters, on a yellow ground, is 
not the best taste, as it tends to distort the letters; hence it is better to 
have some slight space between letter and shade. A mustard-yellow 
ground with deep blue letters and vermilion outline will be better with- 
out the outline. Vermilion on orange gives a poor effect, owing to 
the two colors being too closely allied in luminosity, and the addition 
of a bold black line would improve the effect. 

A vermilion letter, outlined with black, or with top and left-hand 
side lined with white, on a greenish-gray ground, will give the effect 
of a beveled edge. Vermilion letters with black outline, on a drab 
yellowish-gray; medium blue letters on a stone colored ground, outlined 
with white; fawn color ground, Venetian red letters, with or without 
white lines; deep cream ground with letters of a medium blue; all such 
are good combinations. 

Lemon chrome yellow letters on a black ground do not look well, 



THE EXPERT SIGN PAINTER 51 

but may be improved with a vermilion outline. Deep warm yellow 
letters on black are much the richer color combination. With the 
right tone of yellow the effect is nearly as good as gold on black, and 
very much bolder. The ground color should not be glossy. 

Deep cream or straw-colored letters outlined with a deeper yellow; 
white letters outlined with pale greenish-blue ; white letters outlined 
with vermilion; vermilion letters outlined with white; are all desirable 
combinations, on a black ground. Purplish tints, from heliotrope to 
lavender, outlined white, are good variations. Medium blue, green, 
red, these colors may be used for lettering on a black ground, but never 
without a white outline. 

Outlining and shading both serve a useful purpose in color combina- 
tions, as thereby harsh colors are harmonized and discords are made 
inconspicuous. 

Gold looks well on a blue or red ground. Gold letters on a rich 
leather-color ground, outlined with black, or shaded with umber, are 
handsome. 

If you have to letter with white on a black ground, tinge the white 
with a little blue, which will make it cover better. 

Light blues, pinks, greens and purples are not suitable for ornamental 
sign painting. 

A highly colored ground will detract from the beauty of any form 
of lettering. 

Dark colors look best in gloss, and light colors in dead flat. This 
rule is especially applicable to sign painting. 

Lettering in connection with fresco work, as in churches, should be 
done in dead flat colors. 

Black letters on an orange ground do very well, but on a mustard- 
color ground they do even better. Navy-blue letters on an orange 
ground, with white shade, is good, though a white outline instead of the 
shade would look better. 

A blue ground may vary from light blue to dark blue; a light tint 
of yellow-green, with a white outline, looks well on a rich deep blue, 
and may be further enhanced in its color values by the use of a black 
shade. White letters on a sky-blue or turquoise ground, with vermilion 
line and black shade; or, navy-blue ground with white letters; or, 
purplish-blue ground, white letters, and black shade, are very effective. 



52 THE EXPERT SIGN PAINTER 

Red grounds may range all the way from bright English vermilion 
to rich chocolate ; the best effect can, be made with vermilion ground, 
white letters, and a black shade. Or, vermilion ground, deep yellow 
letters, and black line and shade, blended into the ground color. A 
pale blue letter looks well on a chocolate ground, but it must be shaded 
with black. Orange on vermilion, or even on a medium tone red 
ground, does not look quite right, but may be much improved by a 
black outline or shade. If the ground were a purplish Indian red it 
would do much better. 

White letters on an emerald green ground should be shaded or out- 
lined with black. A favorite color effect is a white letter outlined 
and blocked in gold, with a black cast shade. 



LETTERING BRUSHES AND PENCILS 

Two grades of brushes and pencils will be needed in your outfit, 
the best and a cheaper grade. The so-called French camel hair brushes 
are a little stiffer than the common sort, and are the best for general 
use. Sable is too stiff for some work, but is right for applying size 
or for similar work. Red sable is more pliable than the black sable. 
For general purposes the sable brushes are very good. Where the 
color used is light weight the camel hair pencil is preferred by most 
sign painters, once they get used to it. For filling-in, etc., the bear 
hair and ox hair brushes are always satisfactory. The two-inch camel 
hair mottler is used in glass gilding, for applying the water size. 

You can have brushes made up of any desired length of hair, with 
some brush makers at least. The length of hair for heavy colors like 
vermilion, white or red lead, etc., should not exceed one inch, while 
for sable three-quarters of an inch is enough. That is, for pencils used 
in heavy colors. For doing large letters with extended bars hair not 
exceeding one and one-half inches is best. This because a truer line 
can be drawn with a long hair than a short hair pencil, owing to 
the more or less unsteadiness of the hand. The color will also be laid 
with a finer edge. It is advised to have a part of the black sable 
pencils furnished in one and one-quarter inch and part in one and 
one-half inch ; this applies to the camel hair pencils also. 

The difference between the ox hair and black sable consists in the 



THE EXPERT SIGN PAINTER 



53 



former being stiffer and less resilient than the other ; the black sable 
is used mostly for glass lettering; it is very soft, pointed and resilient. 
Ox hair is used for lettering on board, card and oil cloth ; also for single- 
stroke work and sign painters' brushes. Where ox hair is too coarse 
it is well to have a brush made up of a mixture of ox and sable hair. 



o 

z 



o 



00 



<s 



Ut«*55gi 



Lettering Pencils 



The lettering pencil and brush must have the qualities of resiliency 
or elasticity, which should disclose itself about the middle of the hair. 
When a pencil must be loaded at the base in order to give it the proper 
spring it may as well be discarded. When selecting brushes and pencils 



54 THE EXPERT SIGN PAINTER 

see that they have proper spring or elasticity of hair; the hair must not 
be too stiff nor too soft. As a general thing, camel hair pencils don't 
average as uniform in quality as the sables. Whip the hair over the 
forefinger, which will show what degree of elasticity it has; the hair 
should show a readiness to return quickly to its original position, hold- 
ing its shape under rough handling. 

As to pencils in quills, in course .of time the quills become so dry that 
they crack open, and have to be repaired. 

To fit a wooden handle to a quill pencil steam the quill until it be- 
comes soft, in which condition it will yield and not break. Then stand 
it aside until it dries and becomes hard. 

The two-inch wide camel hair tip is used for taking up gold leaf 
and conveying it to the sized surface it is to occupy. The two and one- 
half inch badger tip is used for laying silver leaf, which is much heavier 
than gold leaf, badger hair being stiffer than camel hair. The tip 
requires care in its .keeping; if the hair becomes rumpled, comb it out 
with a hair brush ; keep the tips in a book, between the leaves, making 
the hairs lay straight before putting the brush away. 

How to Keep Brushes and Pencils.— Clean them out with tur- 
pentine, then work some lard or other non-drying grease or oil into 
them and straighten out the hairs. For winter use sweet oil, and in 
summer lard or neat's oil. Dip the tip of the pencil into the grease or 
oil, then squeeze it with the thumb and finger back into the heel ; 
then take some clean, soft waste or bit of old gauze underwear and 
wipe the oil out. Have a narrow pasteboard box and into it throw the 
pencils, heads all one way; if using a number of them, and you have 
no oil at hand, throw them into the box with their heads the opposite 
way; in this manner it is easy to see which need oiling. or greasing. 
Kept in this manner they will last until worn out. They will not 
remain crooked when kinked, and are ready for use without rinsing. 

Bristle brushes used for landscape, figure, bulletin, or other form of 
pictorial work should either be wiped dry, by brushing, or be washed 
out in benzine and then be washed with soap and rinsed with water. 

Ox hair or camel hair tools may be treated in the same way, with 
good results. In fact, it is the only way to keep bristles soft and 
pliant, especially those which have become more or less worn. 

A good way to keep the brushes used in painting surfaces is to wrap 



THE EXPERT SIGN PAINTER 



55 



the brush with a piece of paper of suitable size to cover the stock, 
around which it should be closely wrapped, extending far enough be- 
yond the point of the brush to turn back and enclose it completely; 
then place it in a vessel of water, as usual. Brushes of all colors may 
be kept in the same vessel, and as long as there is any water in it the 
paper will remain moist and so preserve the bristles. The brush is 
not filled with water, as when dipped into water in the common way, 
and for use all it requires is a flirt to force out the water which may 
settle at the point of the brush. The vessel containing the water 
should have a cover. The water should be changed now and then, 
and only a small quantity is required, just enough to keep the brushes 
from becoming dry. 





Single-Stroke Brushes 



Lettering pencils may be greased when put away, this grease being 
either mutton tallow or vaseline, or a mixture of both, twice as much 
tallow as vaseline. Tallow is rather too hard to use alone, in cold 
weather at least. As to the shaping of the pencil after greasing there 
is diversity of opinion. Some flatten it out when greasing it and 
leave it that way, but a more general practise is to round it out, draw- 
ing the hair to a point; the argument is that this is the natural form 
of the pencil, and that in this way it holds the body to its truest lines. 

The bulletin brush is usually cleaned in benzine, and it is then 
wrapped in paper, as previously described, and then placed in a pot of 
kerosene, being then ready for instant use. Bulletin sign painters are 



56 THE EXPERT SIGN PAINTER 

very particular in following this simple method. The colors used 
in bulletin work are such, and the general work such, that soaking 
the brush in kerosene does not interfere with the work; it may be- 
taken out of it and put into paint at once. 

All brushes used in the sign shop should be cleaned out when done 
with ; this will prevent the paint from clogging them at the butt of the 
bristles and seriously impairing the usefulness of the tool. Rinse out 
in turpentine or benzine, or in kerosene, which is cheaper and just 
as efficient. After cleaning and wiping the brush work a little non- 
drying oil into the butt ; lard with a little castor oil mixed with it 
will do. Press the hairs to a sharp wedge-shape point and put in a 
clean place. When wanted again for use, rinse out in any of the liquids 
mentioned, wipe off with a clean rag, and it is ready for use. If any 
kinky hairs show up heat a putty knife and flatten them out on it; 
this will bring them back to correct form. 

Preserve the chisel point of pencils having that shape. This point 
gives a broad, even line when used for outlining letters, and this makes 
the filling-in easier. It is thought by some that the pointed pencil 
enables one to get into corners better, but this is not correct ; take letter 
I for instance and with the broad pencil make two down strokes with 
the flat side thereof, and you have the vertical sides, finishing top and 
bottom with one stroke; but this is done by taking the point of the 
pencil and using it edgewise; that finishes top and bottom outline; then 
about two more strokes fills in the body of the letter. Then try it with 
the pointed pencil. 

Some pencils are square of end, others pointed. Quicker and better 
work can be done with the square end pencils than with the round or 
pointed, but one must become accustomed to them before he can handle 
them as well. 

Always use a large pencil instead of a small one when the size of 
the letter justifies it. 

On the smooth surface the black sable is best; on rough surfaces 
red sable and ox hair are best; but on very rough surfaces bristle 
brushes or fitches are best. 

Brushes made from sable, ox hair, or bears' hair are used on muslin 
sign work. They come in sets. French crease-quilled brushes of camel 
hair are well adapted for work on painted surfaces, and are especially 
good on window, tablet, and office door lettering. 



THE EXPERT SIGN PAINTER 57 

There are fitches and cutters of different widths for wall and bul- 
letin work; these are stiff and capable of withstanding hard usage, as 
they are made for rough surfaces. 

Camel hair is squirrel-tail hair, from southern Russia. An imitation 
hair comes from old furs, being dead and rotten, and being dyed that 
comes out and spoils any white or light colored work. 

For all coating or filling-in large backgrounds use the regular 3-inch 
or 4-inch stucco bristle wall brush. 

For large letters on fence or wall signs use the chiseled bristle varnish 
brushes, from size 1-inch up to 3-inches. 

For rough board work or water color cloth signs the chiseled fitch 
brush is useful; better have several different sizes, to suit the various 
kinds of jobs that come to hand. 

The black sable lettering pencil is the principal tool for all kinds of 
small lettering, though the beginner will find them rather difficult to 
handle; this is owing to its long hair, but once he gets used to it 
he will find that he can do better work with it than with a short hair 
pencil. 



CONSTRUCTION AND PREPARATION OF A 
SIGN BOARD 

Experts differ as to the selection of wood for making a good 
sign board, some preferring that part of a tree that is nearest the 
bark, arguing that such wood is apt to be better seasoned than the 
inner part, and also that it is less liable to warp, split or shake. 
Those who contend for the heart growth make about the Bame 
argument. There can be no question concerning the value of clear, 
well-seasoned stuff for the purpose. Air-seasoned lumber is better 
than kiln dried lumber, and white pine is better than any other kind 
of wood. 

When making a large sign board it is better to use narrow boards, 
rather than wide ones, as in shrinking the narrow widths will leave 
a number of small and easily filled cracks, whereas, when the wider 
boards shrink, there will be fewer but larger cracks, which will be harder 
to fill perfectly. Again, wide boards are more apt to warp than narrow 
ones, forming a hollow in the middle and a ridge at the joined edges. 



58 THE EXPERT SIGN PAINTER 

If you must use wide boards, then select them so that they will differ 
in grain, its growth, direction, etc,. Or you may canvas such a sign. 

When a sign board is to be more than two feet wide it will be well 
to use two or more boards, rather than one board two feet wide; for 
anything more than a foot wide the tongued and grooved boards are 
best. When well put together such a sign board will look even and 
solid. 

A board that is to be lettered on both sides cannot be cleated, but 
if well made, with a strong frame, and the sign is not large (as such 
signs very rarely are), tongued and grooved boards will give a sign 
board that will stand without cracking. If wider boards are used, and 
are not tongued and grooved, the edges may be secured with glue, or 
may be dowelled together. In the latter case the dowel pins and edges 
of boards should be glued, to make the best job. Narrow boards also 
would be better with glued edges. 

Cleats of right width and thickness should be firmly screwed on the 
back of the sign board ; use plenty of screws, and countersink the 
heads. Nail end pieces to the sign board, to prevent ends drying apart. 
Put a rim . around the board, letting it extend over the face of the 
sign, forming an angle, in which place a moulding ; this strengthens 
the sign board and adds to its appearance. 

As a sign board is exposed to all kinds of weather it is necessary to 
make it water-tight and solid in every part. Putty all joins or breaks, 
openings, etc., and make a smooth and well painted surface, back and 
front, including the ends. The back should have at least one good 
coat of paint, well rubbed in, and two would be better than one. Any 
irons, supporting the sign, should also be well painted. 

The priming of a sign board of the best grade requires the best white 
lead paint, thinning with pure raw linseed oil, and adding only a very 
little driers. Some sign painters thin the white lead with equal parts 
of raw oil, turpentine and japan gold size. Others prefer to size with 
a good coach varnish, adding to it some black when the ground is to be 
black or dark. This method is used to obviate the use of shellac, which 
is used when there is sap, knots, etc. But the coach varnish will not 
prevent pine sap or knots from showing through the paint; only shellac 
will do that. 

When the priming has become quite dry it may be sandpapered 
smooth, dusted off, and all defects puttied with white lead putty. Some 



THE EXPERT SIGN PAINTER 59 

painters prefer to shellac on the bare wood and glaze with white lead 
putty, made from dry white lead and keg lead in equal parts, and mak- 
ing into a paste with quick drying varnish. The surface is levelled up 
and all defects filled with this putty, using a wide glazing knife, after 
the manner of the carriage painter. When dry it is sandpapered smooth 
and level. In the ordinary manner, where the defects are puttied with 
common putty, it may be necessary to shellac over the putty, as it 
would not become hard enough to paint over successfully unless shel- 
lacked. The green or undry putty would sweat through the paint. 

The second coat of paint is made with keg white lead thinned with 
equal parts of raw oil and turpentine, with a little drying japan; this 
coat should be medium heavy and be well brushed out. The third 
coat consists of white lead in oil thinned out with raw oil, adding just 
enough turpentine to cut the gloss; if the surface is painted with tuo 
glossy a paint it will cause the lettering to creep. If a pure white 
ground is desired then add a portion of zinc white; some white leads 
are quite white enough. 

To make an extra good surface, apply on top of the second coat 
a surfacer or rough-stuff made from Reno's filler three parts, and dry 
white lead one part; mix to a paste with equal parts of rubbing var- 
nish and gold japan, thinning with turpentine to a working con- 
sistency. When this coat is dry it should be rubbed with lump or 
block pumicestone and water, to a smooth, even surface. On this 
foundation are then laid two or three coats of flat color, which may be 
white or any desired color; each coat to be smoothed lightly with hair 
or fine sandpaper. On this the lettering may be done. Or the surface 
may be varnished before lettering, as desired. This may seem a very 
elaborate preparation, but there is another one that is very much more 
so, it being used by British painters. 

Sign boards are canvased when it is desired to save money in the 
lumber, as when a larger board is desired and at a low price; the 
lumber does not have to be first-class, and by stretching the canvas 
tightly over it a very nice job results. Then there is the old sign 
that is in very bad condition ; you can cover it with canvas easier and 
cheaper than by scraping or burning off and making smooth, which 
in some cases would be impossible. There are two ways to canvas the 
sign ; either stretch the goods tight, and tack, or attach the canvas 
to the sign with a paste made from white lead in oil thinned with 



60 THE EXPERT SIGN PAINTER 

equal parts of boiled oil and turpentine, with a little hard drying 
varnish of good grade. Apply this, and while it is still fresh lay on it 
the canvas or duck, stretch tight and tack, pressing it down on to the 
paint. The next step is to apply a coat of glue size, and on this coat 
of paint made from white lead in oil, thinned with raw oil 1/4 part 
and turpentine 3/4 parts; this will give a paint neither brittle or too 
elastic. When dry it is ready for the lettering. Another way: Give 
the board two coats of priming color, sandpaper smooth, and apply a 
paste of white lead in oil, japan geld size and dry white lead; apply a 
stiff coat of this and lay the canvas on it, press down with a roller or 
cloth, and remove all air blisters. When dry give it a coat of glue 
size, following with a coat of thin glue size, which, when dry, is to be 
lightly sandpapered with fine paper. Some omit the glue size, but if 
used it is best to apply it under the last coat of paint. 

If a sign board scales it may be due to the wood being undry when 
painted ; or, if it is a metal sign, the metal had not been properly painted. 
There are, of course, other things that may be responsible for the 
trouble, such as hurried painting, fatty paint, oily coats on top of each 
other, too much japan driers, varnish over oil paint, paint or color too 
heavy; yellow pine will sometimes cause scaling; -water getting in at 
the back of the sign, paint unevenly applied and too heavy or stiff will 
cause peeling or blistering; unseasoned lumber causes much trouble. 

Never paint a sign board with a flat brush, as it will not rub it 
out evenly enough; use a round brush, made with hog bristles, as softer 
hair will not allow of proper spreading out of the paint. A rather flat 
paint, one not all oil, is best, and should be mixed rather stout, but 
be thoroughly rubbed out, otherwise it will produce a rough surface. 
Use the best white lead, thin out with pure raw linseed oil and turpen- 
tine, ■whether gum or wood spirits matters not, one being as good as 
the other for this purpose. The priming coat may be white lead and 
oil, but after that it is best to use some turpentine in each coat, and not 
too much japan, so as to get a good hard surface. 



HOW TO PREPARE AND USE GOLD SIZE 

When raw linseed oil is left exposed to the air for some time it 
assumes a viscid condition, due to its absorption of oxygen. The chem- 



THE EXPERT SIGN PAINTER 61 

ist calls oxidized the sign painter, fatty — whence fat-oil size. 
This fat oil the sign painter finds the best adapted of any substance 
he has tried for gilding on wood. It has to be thinned for use, and 
when it has been applied to a surface it dries more or less slowly, ac- 
cording to his wishes. In its normal condition, excepting that it has 
been made thinner with turpentine or other liquid, it dries very slowly, 
and during its drying process it exhibits three different stages that the 
sign painter recognizes as setting, drying, and dry, or hard. Between 
the last two stages it assumes a condition known as "tacky," or "on the 
tack." This tack is the most valuable feature of fat oil, for it holds 
the gold leaf securely, and it may be made to either dry quickly, or 
hold its tack for one or more days, or even for weeks. The advantage 
of this consists in the fact that where a quick job of gilding is re- 
quired the size may be applied and leafed the same day. On the other 
hand, circumstances might require a postponement of the leafing or 
gilding until next day, or even next week. Say you had a very large 
job of gilding, where it might be necessary to size one day, and not 
be able to gild for several days. This is easily arranged by "temper- 
ing" the oil size, or slowing it up, or hastening it. A little raw oil 
will slow it, while turpentine or quick drying varnish will hasten it. 
Fat oil made from raw linseed oil dries slower than that made from 
boiled oil; for either oil does for making fat oil. To fit an oil size 
to be applied one day and leafed the next morning add one-tenth as 
much turpentine drying japan as you have of fat oil. Or use two- 
thirds fat oil and one-third finishing varnish, with a few drops of gold 
size japan. To slow the size, use a slow-drying varnish; quick-drying 
varnish will hasten the drying. Some add a little chrome yellow to 
the size, to approximate the color of the leaf, and this pigment is a 
self-dryer, hence assists in drying the size. Of course, the greater the 
proportion of fat oil in the size the slower the drying, though the ad- 
dition of a retarding agent, such as raw oil, will make it still slower. 
So that we see how easy it is to regulate the drying quality of fat 
oil size. Adding a little pure boiled oil to fat oil, and also a trifle 
of lemon chrome yellow, will give a tack that will dry perfectly in 
24 hours, but will hold a good tack for 48 hours, at least. For in- 
side work, where a very quick size is demanded, a very good size may 
be made from the best japan gold size, with a few drops of fat oil and 
a little yellow chrome, for color and body. To slow the size, add a 



62 THE EXPERT SIGN PAINTER 

little hard-drying varnish, not too much, but just enough to slow it 
and no more. 

Quite a number of gold sizes may be made without using any fat oil. 
One such, and which may safely be used in three hours after applica- 
tion, may be made from equal parts of finishing varnish and japan 
drier, colored with yellow chrome. Some prefer to use 2/3 varnish 
and 1/3 japan. Another size for quick work may be made from one 
part japan gold size and three parts coach japan. For instant gilding 
take one part quick levelling varnish and two parts of gold size japan. 
For a moderately quick drying size, for ordinary work, mix together 
one part wearing body varnish and two parts of coach japan. A, size 
that will take the leaf in two hours may be made with one pint of the 
best copal varnish, one-half pint of the best coach japan, and one gill 
of japan gold size. 

Gold size, or oil size, is very sensitive to changes of temperature ; the 
size will not hold a tack as well in wet or cold weather as in dry and 
warm weather. The size will be weak; to restore it give it warmth. 

The more time you give to the oil size to dry the better or more 
permanent will be the gilding. Experts consider that a size is just right 
when it will dry with proper tack in 24 hours, and hold that tack for 
some hours longer. 

Some sign painters say that oil size gives best results when it is 
made up the day before using it. 

Fat oil is the best for exterior gilding, but it should be tempered 
with a little fresh pure boiled oil, with a little chrome yellow for color. 

As to the addition of color, or yellow chrome, it should be said here 
that it always makes the size work harder, as it does not flow as well 
under the pencil or brush. 

But the addition of some yellow chrome will prove useful when you 
have a very thin leaf to handle; some leaf is so thin and poor that it is 
full of tiny holes. Also, when you have a narrow line to gild the 
chrome will keep the size from spreading. But for ordinary work and 
good leaf better omit the chrome yellow. 

If the size is too heavy it will cause the letters, etc., to stand out 
from the board. 

When the size becomes too dry breathe on it. 

When gilding is to be varnished don't use fat oil size, but japan gold 
size or varnish. 



THE EXPERT SIGN PAINTER 63 

Apply the size with a bristle brush on large letters, but use a camel 
hair brush on small letters; even on large letters the soft brush does 
well, making a smoother surface than bristles are capable of doing. 
If the oil size becomes too soft in summer, add a little varnish. 
When a sign has been gilded in the shop, and the weather is warm, 
better get it into a cooler place if you can, to keep the size from sweat- 
ing through. 

When oil size is too heavy it runs or sags down from the letters and 
does not dry properly ; the leaf is apt to crack. 

When you have a job of gold work outdoors you need a quick size, 
and japan gold size answers the description. There may be dust, or 
winds may arise, and other possible adverse conditions all call for quick 
work. 

Some sign painters time the size, having a bottle of the various de- 
grees of drying size on hand, to fit any sort of work. 

Some say that fat oil size should never be thinned with turpentine, and 
that should it need thinning it were better to use boiled oil. 

When the size runs to fat edges it needs to be thickened with heavy 
fat oil, for it is too thin. 

A little boiled oil will retard the drying of japan gold size; don't 
use raw oil, for that is likely to make the size curdle. 

Gold size made with japan gold size does not resist the heat of the 
sun very well, but a little boiled oil added to it will greatly improve it in 
this respect. 

Fat oil size should be used quite thin, and for thinning it use benzine 
or gasoline ; these liquids make the spreading of the size easy and in 
that condition they make a smooth surface, while the liquids soon evapo- 
rate. Such size is fine for getting a good burnish. 

To get a good lustrous burnish, one that will retain the fine color 
of the gold leaf, use a size that will have a tack at the end of about 
48 hours; if gilded too soon the gold leaf loses its burnish. When the 
leaf and work are both right the gold will retain its bright color unless 
fouled with smoke and dust. 

Be careful in the use of both boiled and raw oil sizes; raw oil is 
almost sure to sweat through and spoil the leaf by deadening its color, 
and the boiled oil is also, though not as surely apt to do the same 
thing. 

Keep the fat oil size in a well stoppered bottle or jar. 



64 THE EXPERT SIGN PAINTER 

If the size is too dry it will not hold the leaf well; if it is too 
wet or soft it will sweat through and deaden the leaf. 

Commercial gold size of poor grade is made from equal parts of 
boiled oil and rosin oil. It has a gluey appearance and an odor. 

Gilding done over fat oil size should never be varnished. 

Sometimes japan gold size will curdle when you mix fat oil with 
it; or it is the fat oil that curdles, whichever you choose, but some 
japan gold size does act that way. 

Use quick size in winter, and if needs be, slow it with boiled oil ; this 
ought to give the right tack in 24 hours. 

Formulas for Making Gold Size 

There are many ways of producing oil and other gold sizes, as we 
shall see by the following list. Raw and boiled make the most-used 
fat oils for general purposes, through the simple process of oxidation, 
or exposure to the air. Fat oil may also be produced by chemical 
means, and such oil size is sold by paint stores. 

The value, of fat oil lies in the fact that while it is capable of dry- 
ing apparently hard, yet it will retain some tackiness and this will 
hold gold leaf securely. It is a varnish, in a degree, but a very elastic 
one, one that never would become solid-dry. 

Fat oil size made from raw linseed oil dries slower than that made 
from boiled oil. 

Formula No. 1. — Boil pure linseed oil, then place in a vial, tie a 
piece of coarse-mesh muslin over the opening, to keep out foreign mat- 
ter, and hang in a sunny place. It will take several weeks for the oil 
to become fatty, but it makes a fine size. 

Formula No. 2. — Take pure raw linseed oil and treat as described 
for boiled oil ; it will require much longer time for oxidizing. 

Formula No. 3. — Boil pure raw linseed oil in a copper or porcelain 
vessel, and maintain a temperature of 500 deg., Fahr., for from three 
to four hours. Then stir in about ten per cent, of best liquid drier or 
gold size japan. This will make a thick, viscid substance that must 
be thinned out with turpentine when required for use. Do not thin 
with benzine. 

Formula No. 4. — This is an old-fashioned way. It takes an extra 
good size, however. Heat some raw oil in a pan, and when it is so 



THE EXPERT SIGN PAINTER 65 

hot that smoke arises from it take it from the fire to outdoors or other 
safe place and set fire to the oil; let the blaze continue for a moment 
or two, then place a pan over it, to smother the flame. Then let the 
oil stand until cooled a little, place a little red lead and litharge in a 
wide-neck bottle or glass jar, then fill the same with the oil. Keep 
it in a warm or sunny place for about two weeks, shaking it each day. 
Then the oil is to be poured carefully into another and similar vessel. 

Formula No. 5. — Mix together dry yellow ochre two parts and 
dry white lead one part; add raw oil to form a thin paint. Place it 
in a wide-mouth vessel and hang in a sunny place for a few weeks, 
at the end of which time the oil will have risen to the top of the paint, 
and have become fatty. This is a quicker way than where the oil alone 
is left to oxidize. 

Formula No. 6. — Place one quart of pure raw oil in a wide-neck 
glass vessel and add a quarter-pound each of sugar of lead and powdered 
litharge. Tie thin open-mesh muslin over the top of the vessel, place 
where it will be warm and get some sun, and shake it occasionally. 
In a few months it will be an excellent oil size that will not require 
driers, and that will dry with the proper tack in from 24 to 60 hours. 

Formula No. 7. — Heat one-half pint of raw oil and add to it 
two ounces of pulverized gum anime; add the gum very gradually by 
stirring in, and boil until the gum is dissolved, and the mass a little 
thicker than wood tar. Strain through a coarse muslin. When ready 
for use grind with it enough vermilion to make the oil opaque, but not 
too much so. Thin to working consistency with boiled oil; the size 
should be in such condition that it will flow freely from the brush or 
pencil. 



GILDING SIGNS ON WOODEN SURFACES 

The surface for gilding on should be made as level or even and 
smooth as possible, for a first-class job. The painting should be 
slightly flat, not a full gloss, or it may be a varnish surface, according 
to requirements. If too glossy the lettering color will incline to creep, 
and the gold is more apt to attach to those parts adjoining the letters, 
and would be difficult of removal. If the surface should be the least 
tacky then it will have to be prepared ; a favorite method with some 



66 THE EXPERT SIGN PAINTER 

is to beat up the white of an egg with water — 3/4 pint warm water 
to one white of egg, and apply this. When the sign is done and dry 
this size may be moved with warm water. This size should be applied 
to every part of the surface. In place of egg size many use whiting, 
dusting over the surface from a pounce bag, which deposits the finest 
of the pigment only, and does not apply too much. The English sign 
painter uses the egg size, and also dusts it over with whiting, for he 
is very thorough and painstaking in his work. 

The inscription may be laid out with a crayon, or it may be pounced 
on with a pricked stencil. In the latter case the pricked letters should 
be slightly larger than the sign letters are to be, so that the whiting or 
other pigment used in pouncing may not come on a line with the pencil- 
ling, as when the oil size is applied if it comes in contact with the dry 
pigment it will spread at the dots. 

If the lettering is to be done on a varnished surface the surface must 
first be washed off with water and sponge, followed with a wipe off 
with wash-leather. This will prevent the egg size from cissing when 
applied, and which in turn would fail to coat the surface completely. 

To set out the lettering snap a chalked line for the top and bottom of 
letters, then carefully set out the letters, if a pounce pattern is not used. 
This work, together with spacing, etc., is treated fully in another place. 

The next step is to size the letters for the gilding. The oil size, 
described elsewhere, should be thinned with benzine or gasoline, which 
will make the size easier to apply, and the fluid will soon evaporate, 
leaving an even film of size that will allow of good burnishing; never 
thin up the size with turpentine, for that would injure the tack of the 
size. Fill in the letters with the oil size just as neatly as you will ex- 
pect the finished letters to be done, unless the sign is to be smalted, 
in which case it is not so important ; in fact, we would, in that case, 
allow the leaf to go a little beyond the limits of the completed letter, 
as will be described elsewhere. 

The temperature of the shop where the gilding is being done is im- 
portant; it should be about 70 deg., Fahr., or not much lower than this, 
and in cold weather the work should be where no drafts of cold air can 
touch it. 

A size that will be ready for the leaf in about 24 hours is usually 
about right. It requires a very slight tack to take the leaf, and you can 
test it by gently touching the knuckle cf a finger to it, being careful not 



THE EXPERT SIGN PAINTER 67 

to get any grease on the size. Fat oil size is a slow size, japan gold 
size is a quick size ; but oil size may be made quicker by adding some 
japan gold size to it, the amount added determining the degree of drying 
power. A full explanation of this subject will follow. 

It is a good plan, when it can be done, to size in the letters before the 
end of the day, and then in the morning try the size for tack. But it is 
easy enough to so regulate the drying of a size that you can gild at any 
desired time. Suit your convenience. The oil size will give a better 
burnish than japan gold size will give. When the size has the right 
tack it will take the leaf without breaking it. When the tack has been 
lost through coldness breathe upon it, or let it remain in a warm room 
until soft. 

Having sized-in the letters and the size having the right tack, 
proceed to lay the leaf. There are different qualities of gold leaf, some 
too much alloyed to make a good gold job, and some too thin to cover 
properly. Get the best. Some leaf is full of pinholes, having been 
beaten out too much. In this case two leafings would be best, though 
usually this backing up color is made from yellow chrome, which hides 
the pinholes. 

For the beginner patent gold is easiest to handle, as the gold leaf 
is slightly attached to the paper leaves of the book, and hence the slight 
disturbance of air that would blow away a loose leaf of gold will have 
no effect; in fact, one may gild with patent leaf outdoors, in a gentle 
breeze; but a breath of air will rumple or blow away an unfastened 
leaf. Yet it is a question even among experts as to which is the best way 
to transfer the leaf, whether from the loose or fast leaves. But I think 
the consensus of opinion shows that the latter method is the best. As 
one sign painter puts it: "Gilding direct from the book is to be left 
severely alone, though for large Work it is expeditious and cleanly. 
Gold leaf from unrouged books is very nearly as easy to lay as transfer 
gold." It should be explained here that when gold leaf is placed in 
paper books, as it always is, if the leaf is to be loose, the paper is rubbed 
over with rouge or red chalk, which prevents the leaf from adhering 
to the paper. Transfer leaf is that leaf that is secured to the paper 
leaf by great pressure; there are other ways of attaching the leaf to the 
paper, which is explained in another place. Here is a method used 
by an expert : Cut white tissue paper in pieces a little larger than the 
book, and, without waxing anything, insert one between each leaf of 



68 THE EXPERT SIGN PAINTER 

the book containing the gold until you have, say, six books done thus. 
Then lay the books evenly on top of each other, then take two pieces of 
inch board, about the size of the k ooks, one at top and the other at 
bottom of the stack of books, and place them in a vise, screw up as tight 
as you can, and leave them over night. When you examine the books 
you will find that the gold leaf is adhering to the tissue paper leaf, the 
rouge preventing the gold leaf from adhering to the paper leaf of the 
book. But the books may be bought with the gold leaf prepared in 
this manner. 

Coming back to the laying of the leaf, and assuming that you are 
using transfer or patent leaf, cut strips of the gold leaf according 
to the width of the letter's members. Let the strip be a trifle wider 
than the member, and where more than one piece is necessary to do the 
member let the second strip lap over the first a little, so that the join 
will not show. To place the gold on properly, take the strip in the left 
hand, place it at the bottom of the letter or member, and with the 
right hand gently press it against the size, moving the hand upward. 
Then gently press the strip with the thumb or finger so that all parts 
of it become securely attached to the sized part. Then throw away 
paper strip. As stated elsewhere, letters not above three inches high 
may be gilded solid, as the time saved will more than compensate for 
the loss of gold involved. It is very easy to gild on wood, with the oil 
size, but the main matter is to get the gilding even as to color, and 
smooth. 

After you have finished laying the leaf take some prepared cotton 
wool, and gently rub off the surplus gold leaf, as described for glass 
gilding. The leaf will not leave the sized parts, but having nothing to 
attach it to the other parts it will come off readily. If, when this has 
been done, you find some places where the gold has not taken, take some 
of the pieces left from cutting the strips, or some of the loose pieces of 
gold leaf that have been removed from the sign by rubbing, and repair 
all breaks or ungilded places. Press these lightly and rub again with 
cotton wool. If now the job looks solid and good, you can call it done, 
or line it, running an outline of black, for instance, around the letters, 
which will make them stand out better. This line must be very fine, 
and other colors may be used as well, Naples yellow being a favorite 
one, and blue, etc., may in some cases look best. Or if the gold letters 
are on a black ground they will look well without any outlines. 



THE EXPERT SIGN PAINTER 69 

The size seems to be the important thing in this work, for if it is 
too soft, the gold will become dark looking, and if too hard the leaf 
will not wear well. A strictly first-class job will have lustrous gilding, 
and the gilding will continue bright for a long time. Most beginners 
make the mistake of using too soft a size; it comes through the very 
thin leaf and drowns it, to use the technical term. Better a little too 
hard a size, for in that case by breathing on it the hard size will take the 
leaf and give good gloss. 

Notes on Gilding 

Pale gold leaf is alloyed with silver, hence does not stand exposure 
well, tarnishing. For exterior gilding the medium shade leaf is best. 
The best gold leaf is 22 karats fine. 

If the gilding blooms it has stood too long in the shop and in impure 
air. Remove by rubbing lightly with damp chamois. 

The XXX leaf is best for gilding on wood. 

One book of leaf should gild 11/2 square feet. 

Keep gold leaf in a dry place; dampness and cold injure it. If there 
is a doubt about it being dry when you wish to use it place it in a warm 
place for a while. 

To test gold leaf place a drop of nitric acid on a sheet of glass and 
then lay a piece of the leaf partly in the acid and partly on the clear glass. 
The acid will not alter gold. If the leaf shows any change it is not pure. 

There are 25 leaves of gold in a book. 

The real color of gold leaf is blue or green. 

Varnish must sometimes be used on gilding, to protect it, but it 
dims the luster of the gold, and changes its color. 

To varnish gilding use a thin coat of the best wearing body varnish 
and let it stand two days ; then apply a coat of the best elastic finishing 
varnish. 

For a hurry-up job apply a thin coat of white shellac, which will pro- 
tect the leaf and not scratch it as brushing on hard varnish will. By 
hard is meant copal. The shellac may be applied the day the gilding 
is done. Then the finish varnish may be applied. 

Gilding done on oil size may be burnished at once. Water-size gilding 
must be dry before burnishing. 

If the oil size is too soft when the leaf is laid it will injure the luster 



70 THE EXPERT SIGN PAINTER 

of the gold. A very slight tack is enough to hold the leaf ; better too 
dry than wet. Breathe on the size if too dry. 

For gilding on wood one leafing is sufficient; but glass requires double- 
leafing to be perfect. 

If some of the leaf adheres where not wanted it may be removed with 
a damp chamois. 

If you have to touch-up a spot in the gilding don't leave a ragged 
edge but cut the letter clear across; still better, re-gild the entire 
letter. 

Size and gild a little beyond the letters if you are to cut-in around 
them with paint, as in smalts work. Then the paint will come up well 
onto the leaf, ensuring a better hold. 

To prevent paint from creeping on the leaf breathe on the leaf a few 
times. 

If the paint on the board that you are going to letter in gold is not 
perfectly dry better apply a light coat of shellac to the letters before 
size is applied. 

If the laps where the edges of leaf meet show better stipple same with 
ends of bristles of new sash tool. 

The smoother the size the smoother the letters will be; use thin oil 
size. 



THE SMALTED SIGN WITH GILDED LETTER 

This is sign done on wood, which is to be well painted and made 
smooth. The paint is white lead colored to a slate color with lamp- 
black; the paint must be one capable of drying hard and without luster. 
On new wood two coats will usually do, but the surface must be solid 
enough to bear out the size and the cutting-in color. Sandpaper 
smooth and dust off clean. Sketch in the inscription and general lay- 
out. The lines for the letters may be snapped with a chalk line, unless 
the board is small. After having sketched the letters with a crayon, 
fill them in with fat oil size. The size should extend a little beyond the 
outlines of the letters. When the size has the right tack lay the gold 
leaf. It has the right tack when almost but not quite dry; press the 
knuckle of a finger against it, and if you can barely discern a tackiness 



THE EXPERT SIGN PAINTER 71 

it will do. It requires very little tack. Use patent leaf, that which 
adheres to the book paper and may be cut into strips with the 
scissors. The strips should be a little wider than the space they are 
to cover. Lay the bottom of the strip carefully against the lower part 
of the letter space, and with the other or left hand run it up to the top 
part. This is easily done. The paper leaves the gold leaf without dif- 
ficulty. Very small letters should be gilded with one piece entire. A 
whole leaf may sometimes be applied this way. Time is more valuable 
to the sign painter than the gold leaf, hence he does not spend time try- 
ing to do the work with a very least use of gold. Moreover, there is 
practically no loss, as he carefully sweeps up the surplus leaf with the 
cotton wad, and sells it; he calls this gold "sweepings." 

If you will happen to be unable to get the patent leaf you may 
get the same kind by rubbing some wax on the back of the leaf of 
loose gold. But you will have no difficulty in getting the so-called patent 
leaf. 

After you have laid all the letters with gold leaf let the job stand 
until next day ; then rub the gilding with a wad of cotton wool, which 
will remove any surplus gold and burnish the leaf. Then it is ready 
to cut-in with color. This color is made from dry lampblack mixed with 
boiled linseed oil on a slab of glass or marble, using a spatula, the mass 
being worked until butter-fine. Then add white lead in oil until 
enough has been added to make the mass a dark gray or slate color. 
The white lead gives the paint the necessary body. If the job in hand 
is a small one thin the paint with equal parts of boiled oil and japan 
drier. If a large job, omit the japan, which would cause the paint to 
dry too quickly. This paint will do for all dark colored jobs of 
smalting, but where light colored smalts are to be used white lead tinted 
to match the color of the smalts should be used. 

The cutting-in color should be applied rather stout, and boiled oil 
is advised, as it has more body than raw oil. 

To facilitate the cutting-in, or painting around the letters, we would 
advise that you have a straight edge and lay it along the top of the 
line of letters, then with your small color brush or pencil run the color 
along the tops of the letters, in which way you can easily make true lines ; 
the same with the bottom line. With a small ruler you can then true-up 
the sides of the letters. This not only enables you to get nice true lines 



72 THE EXPERT SIGN PAINTER 

for the letters, but it saves time. After cutting around the letters, fill in 
the remainder of the surface with the color. Lay it off smooth, for 
every ridge or brush mark is bound to show when the sand goes on. 
And there must be a good coat of paint, and of good body, in order to 
hold the sand when it has been sifted on. Nor should the cutting-in 
color dry too fast, for this would cause shiners or streaks in the finish. 
Because the paint has nearly dried and cannot take the sand, the paint 
shows through in streaks. Another advantage in using boiled oil in 
the ground color is that it does not creep on the edges of the letters and 
cause ragged edges, as raw oil paint does. Another disadvantage in 
using raw oil in the paint is that it will not take the sand well, being too 
thin. Boiled oil and plenty of white lead with the black is the safe rule. 
Use no japan, turpentine or raw oil. 

Cutting-in color made exclusively of black will run in streaks and 
leave ragged edges on the tops of the letters, over which the paint will 
run. 

If you have a very large or long sign to smalt, don't try slowing up 
the paint with raw oil, but cut in about as much at a time as you can 
sand promptly, sanding to within a foot or so of the place where you 
left off the color, then cut in more, and so on, until done. Always 
have your cutting-in color ready and enough of it to do the job ; if you 
run out of it before the job is done you may imagine what is likely to 
happen. Cut in the letters as fast as you can, using a small brush or 
pencil, according to size of the job, and fill in the remaining space 
with a larger brush ; a soft hair brush is best, as bristles are apt to give 
too thin a coating and not do as even and smooth a job. It is very 
essential to get a perfectly even and smooth surface, for if it is the least 
uneven the sand will show up much worse even than the paint. To 
get a velvet-like surface with smalts you must get a perfect painted 
surface. To prevent the cutting-in color from creeping on the gold 
breathe on the gilded letters at the edge. 

Sift the sand before using; if you cannot remove the fine particles of 
dirt or dust, let it fall from a height, say the top of a step ladder, on 
to the canvas cloth. Some let it fall on to the sign from a height. The 
idea is that the sand, being heaviest, gets there before the dirt, which 
falls on top of the sand and can then be blown off. It is important to 
have clean sand. Never sift the sand on fresh color, say that which 
has been applied within two hours or so ; when the paint has stood long 



THE EXPERT SIGN PAINTER 73 

enough it acquires a little tack, then it will take and hold the sand better 
than fresh paint will. 

How long should the sand remain on before shaking it off? If the 
sand is very fine it may be dumped off as soon as finished; but coarse 
sand must remain on longer, from an hour to two hours, according to 
conditions. The sand should never be coarse, but where it has been 
used several times it gets coarse, because the finer particles have been 
taken out in the smalting process, leaving the heavier or coarser remain. 

Where fine sand has been used it may be best to give another applica- 
tion, after shaking off the first; this will catch any possible thin places. 
But this is very seldom required. 

Begin sifting the sand on one end of the board, sift carefully and 
regularly, getting it on evenly. A good rule to follow is to sift on the 
sand until the gilding is hidden. 

Smalting requires abundant light. The temperature of the shop 
should not be too high ; it will cause trouble in cutting-in and laying the 
foundation of paint. In winter get away from the stove; in summer 
hunt a cool part of the shop. 

Clean off all chalk marks left from the lay-out, as the cutting-in 
color when it comes in contact with the chalk will cause ragged edges. 
Better trace the chalk pounce with a lead pencil, then wipe off 
the former marks. A charcoal crayon is better than chalk for setting 
out the inscription, for it will not cause ragged edges; however, it can 
only be used on a flat painted ground. 

Block shaded letters on a smalt ground may be done with the color 
on the board before smalting. Let it dry, then cut in with the smalts 
color. Pligh lights and shades can be put in on the sand after drying, 
using thin color and a fitch. 

To smalt on sheet iron, make the first coat very dark lead color; 
second coat with the color of the smalt, sift the sand on evenly, and 
dump off the surplus. For an extra good job paint over the sand and 
apply another sanding. The first sand must of course be dry. 

To smalt galvanized sheet iron sign first wash the sheet with strong 
sal soda water and then rinse with clear water. Rub dry, or let stand 
until dry. Coat with best yellow ochre ground in oil, thinning with 
equal parts of varnish and turpentine. For the ground for smalts 
make a paint from lampblack, in oil, and about ten per cent of white 
lead ; make and use the paint stiff ; then sift on the smalts. 



74 THE EXPERT SIGN PAINTER 



. STENCILLING LETTERS ON SIGNS 

Cutting the Stencil Plate. — Tough manila paper is used for 
Stencil plates, and for large surfaces it is better than a metallic plate, 
the latter being best for smaller work and where it is to be used for 
a long time. The paper must be shellacked on both sides, some using 
a thin coating of quick-drying varnish instead. Then the letters are 
cut out, using a sharp knife and a plate glass for cutting-board. Some 
prefer wood instead, as it saves the edge of the knife, but there is danger 
of the grain of the wood causing a miscut, which cannot happen on glass. 
Perhaps a smooth and very hard wood might do as well as glass, but 
glass is commonly used. The cutting-knife should have a thin blade and 
be kept sharp. Cut carefully, making the letters as perfect as you can. 
When done cutting out the letters shellac the stencil plate again, on both 
sides. 

To avoid ties showing, make a duplicate stencil, cutting out slightly 
more than a half of the letter on each stencil plate, the lower half of 
one and the upper half of the other. Or, if the letter is of such form 
that a tie must remain, then cut out a part of one stencil so that the 
parts will hold together; then cut out that part in the duplicate that is 
represented by the uncut part of the other. For ornate stencil designs 
it will sometimes be necessary to employ more than two stencils, cutting 
out a portion of each plate so that when completed no ties will show. 

By the two-stencil plan any letter may be made without ties, say 
letter O, and also, if desired, you can make the upper half one color, 
and the lower half another. 

To Shade the Letters. — If shading is required prepare another 
plate and on it draw and cut out the shades as they are to appear on the 
sign, no ties being required. Or, shade with the stencil plate by 
placing it below and beyond the letter, paint in the shade, and after- 
wards fill in the angles with a small brush. The bottom shade must 
always be somewhat darker than the side. 

Correcting Rough Edges. — Sometimes the letters will show rough 
or ragged edges; in this case run a line of another color along the 
edges, overlapping them a little. An expert will very rarely have this 
correcting to do. 

To Mix and Apply Stencil Color. — Usually stencil paint is ap- 



THE EXPERT SIGN PAINTER 75 

plied with a brush, but sometimes the roller is preferred, especially on 
a big job of cheap work. The paint for the brush should be mixed 
rather stiff, using only enough oil to bind the paint, and thinning 
out with turpentine japan. If coach color is used, that ground in 
japan, then thin out with turpentine only, but do not make the paint 
thin. For the roller, the stencil used is rather lighter than that for 
the brush, say No. 16 manila paper. The paint, too, is made thinner. 
The roller is covered with felt, as this material will hold considerable 
color, and not part with it too rapidly. Fill the roller full of color and 
then work it out on a board, to remove excess, and spread the paint 
evenly on the roller. Should the stencil not lay flat, give it another coat 
of shellac. 

Stencil paint should be made very nearly dead flat, in order to get 
clean-cut edges. Mix it stout, and use the smallest possible quantity on 
the brush ; rub the brush out on a board each time you take up paint. 
Apply the paint with the brush in a circular manner, pressing down 
on the plate firmly so that it will be as close as possible to the surface 
of the work. Don't pounce the paint on, as many workmen do, but 
apply as indicated, firmly and with a circular motion. 

Making a Large Stencil Plate. — If a large stencil is required, 
and intended for long service, it may be made from shellacked stencil 
paper; but if the paper has first been oiled and then given two or three 
coats of shellac, on one side only, and then while the shellac is still wet 
lay it on fine muslin and press down with a sad iron, you will have the 
most durable and flexible kind of a stencil plate. After cutting the 
stencil give it another coat of shellac. Two coats in the first place 
are usually enough. After using the stencil clean it off, and keep it 
clean, using benzine and rag. 

Zinc Stencils. — For certain kinds of work the zinc stencil is best. 
Thin sheets of zinc are used. Lay out the letters and paint around 
them with asphaltum, and when dry coat the back of the zinc with a 
thin wax, applied warm. Lay the plate on a level table, and make 
a half-inch-high wax dam around it, as in glass and copper plate em- 
bossing. Mix one part nitric acid with three parts water and pour 
it on the coated zinc sheet, and in due time it will have eaten through 
the unprotected zinc letters. Of course a vessel must be under the 
zinc to catch the acid when it eats through. After this, clean off the 
asphaltum and wash off with clear water. 



76 THE EXPERT SIGN PAINTER 

Stencilling on Glass. — Make the lay-out of the sign on stencil 
paper, cut out the parts desired out, lay the stencil on the glass and fasten 
it there; then lay in solid with gold leaf. Let it dry, then repair any 
breaks, as in ordinary glass gilding. It will be best to make a stencil 
frame, fastening it to a work bench or table, with hinges. This frame 
should fit the glass rather loosely. Take a one-inch piece of wood, 
size of the glass, and fasten it to the table in such a manner that the 
pattern frame will fall directly over it. Now lay the glass, with 
gilded side up, on the block, let the pattern fall into position over it, 
breathe on the gilding, which will show through the cutting in the 
pattern, and rub out the exposed gold with a stiff bristle brush ; some 
use an oval horse hair brush. Breathing on the gold leaf will keep it 
moist, in which condition it rubs out easily. Do all the signs of the lot 
in hand this way, then rub out through the second pattern the same 
way as you did the first. If three stencils are required then pro- 
ceed with the third as with the first and second ; see that each stencil 
registers perfectly on the sign. This rubbing through the pattern 
removes a certain part of the gold leaf, the surplus, and leaves the 
lettering distinct. Paint the background with oil color, spreading the 
paint uniformly over the surface ; and then, before the paint is dry, sift 
on flock of any chosen color, this to give the back of the sign a neat 
appearance. Such signs are made usually for the show case or window. 

Small signs, like the TO LET and FOR SALE signs, may be 
done with stencils, and save time. Letter patterns, or paper cut-out 
letters, etc., are similar to stencil work in saving time and labor. 
Tracing around cut-out letters makes the job look more like real hand 
work, but even stencil lettering may be given this effect by a little 
trimming up by hand afterwards. However, such signs serve a tem- 
porary use, and are not expected to be works of art, though they must 
not look slovenly, either. 

The stencil pattern that is designed to paint in the background, this 
being the reverse of the usual stencil method, has the letters remaining, 
connected by ties, so that all but letters and ties are painted in. The 
ties may afterwards be removed from the work. A border may be pro- 
vided in connection with the lettering, and ties are allowed to connect 
it with the letters. 

Stencil Decoration on Glass. — Stencil decoration is sometimes 
applied to glass, though pencil work has greater durability. Stencilled 



THE EXPERT SIGN PAINTER 



77 



work is also frequently touched up with pencil work in order to sharpen 
the outlines and to tone down roughened surfaces which might furnish 
a foothold for moisture, which is liable to be followed by peeling. The 
use of oil in such cases is not advisable, as gold size paint dries more 




The Pounced-in Sign 



quickly and adheres more tenaciously to the glass. A method of treat- 
ment by which very beautiful effects can be obtained is to stencil in 
semi-transparent glaze colors on the glass, blending and shading in 



78 THE EXPERT SIGN PAINTER 

various tones by using as many different pots of color and providing 
separate brushes for each. The tones can be blended very smoothly 
and softly, the work being done all at the one application. Oil paints 
are used very successfully in the latter class of work as these blend more 
readily. A coat of varnish is applied over this for protective purposes. 

Stencilling upon ground glass is also done with very good effect. By 
this means a semi-transparent ornament may be produced upon an 
opaque surface, thus preserving the original qualities of the glass. 
Brunswick black should not be used on glass for embossing purposes, 
except as a first coat to be followed by freehand brushwork, since the 
acid passes quite readily under the edges of the work, making these 
irregular and ragged. Stencils may also be used to a limited extent in 
gilding on glass. 

To Make Clean-Cut Work. — In order to get clean-cut lines 
on glass with the stencil, it is necessary to make the stencil soft and 
pliable by coating it with a mixture of equal parts of paraffin and benzol, 
which must be allowed to dry before using the stencil. The color used 
must have its oil extracted by spreading it in a thick coat on blotter 
paper, first having made up a creamy paint with oil color and a little 
paste drier. This is spread on the blotter about an hour before you 
wish to use it, in which time most of the oil will have been absorbed by 
the paper. For use, thin with turpentine. It will not clog the stencil, 
nor crawl on oil-painted ground. Use a good stencil brush, dip it 
lightly into the color, and dab the color on carefully. 



METAL SIGNS 

The Cast Bronze Tablet. — The cast bronze tablet sign is designed 
by an artist, then a wax plaster or clay model is made, and from this is 
cast the tablet. As the casting is in one piece care must be taken in its 
making. The moulder has to make an exact reproduction of the model, 
and see that no flaws occur in the casting. He works quickly and deftly, 
when pouring the molten metal into the mould. The smoother the 
casting the less the amount of work afterwards. After being taken 
from the sand the casting is cleaned of the sand that adheres to it, the 
background is made smooth, and the lettering is filed to an even surface. 
Next, a workman, called the chaser, takes the work in hand, and scrapes 



THE EXPERT SIGN PAINTER 79 

and tools the border; this work takes from two to three weeks, after 
which it goes to the chemical department, where it is treated with 
certain acids, and the desired color and finish is given it. 

This is an expensive sign, but very attractive and what some call a 
dignified sign. It outlasts the ordinary brass sign, and needs only to 
have the letters and other polished parts kept bright. It has no filling 
to fall out, as occurs with the brass sign plate, and which must have 
its whole surface kept polished. 

Raised Bronze Letters. — These letters are attached to sheet metal, 
usually of 17 gauge. There is also a wooden backing, made from 
patterns furnished by the salesman who took the order. The carpenter 
makes the wooden part, while the metal-worker fits the metal back- 
ground and border to it, or bevels the edges of the background. Then 
the letters are arranged on the sign by an expert workman, after which 
the job goes to the "assembler," who drills holes through the back- 
ground for the fastening of the letters. Then the letters are polished on 
a buffing wheel, and the background goes to the oxidizing room, where 
the color is given it. This color may shade from a blue-black to light 
chestnut brown. Finally the assembler fastens the letters to the back- 
ground, and includes with the sign the necessary directions to the buyer 
and the fasteners ; the job is then ready for the purchaser. 

The Inlaid or Enameled Sign. — The designer, an artist in this 
kind of work, draws the required design, which is then transferred 
to the metal and outlined thereon with asphaltum varnish. All ex- 
posed parts that are not to be etched are coated with wax, after which 
the plate is laid in a vessel containing an acid, and it is allowed to 
remain in the acid for several hours, say from three to ten, this de- 
pending upon the weather conditions and the character of the metal. 
Then it is taken from the acid bath and washed in clear water and 
then dried. Now from three to four coats of enamel are applied to 
the etched parts and then the plate is put in an oven for baking the 
enamel on. The temperature of the oven should be 300 or 350 deg., 
Fahr., and the plate should be left in the oven for from two to three 
hours. The sign is then taken out and all excess enamel is removed. 
Then it is returned to the oven and baked for five hours. Being then re- 
moved from the oven, it is allowed to cool, after which it is polished 
and attached to its wooden backing. 

Brilliant and Diamond Sign Letters. — Let us assume that you 



80 THE EXPERT SIGN PAINTER 

are to place the merchant's name in the center of his window, and that 
you are using a 4-inch letter. With every order received the manu- 
facturers of these letters send a full-size pattern of the concaved portion 
of the letters. Take tin foil and spread it on a plate of glass with 
water ; rub it down smooth with a hard rubber or block of wood, placing 
a sheet of paper under the block or rubber to protect the thin tin foil. 
Now lay out the name on the back of the smoothed tin foil, carefully 
spacing the letters with chalk. Then take each one of the patterns 
separately and lay them on the foil, backwards. With a sharp knife 
or needle cut the foil around the pattern; then with a tin or steel 
straight edge cut the foil again, about 3/16 inch farther out from the 
pattern ; cut and pick out the foil between the two cuts, leaving 
an outline letter through the sheet of foil on the glass. Fill in this 
space with whatever color you may wish, and let it dry. Remove all the 
foil from the glass and attach the letters by cementing the flange of the 
letter to the colored edge line; then with strips of foil that have been 
varnished and allowed time to become tacky fasten the edges of the 
letters down, and then back them up with color of edge line. Should 
you wish to finish the job with a black outline, stick the letter to the 
glass with cement. Do not use too much cement, which may exude 
upon the face of the letter. After the letter has been made fast finish 
out the black edge line with a pencil, then back up the job. 

In doing this kind of work never lay it out in a double curve, which 
would spoil the lay-out; use only a straight or arched line. 

The makers of these letters will furnish instructions for mixing 
the colors, and include the cement. 

Should you have to panel the window, first lay the border in gold 
leaf, then finish up in any design required. Then lay the tin foil as 
previously directed, and put in edge line in any desired color. After 
the color is dry take off all the foil outside of the edge line, leaving 
the foil letter inside of the edge line on. Paint the panel any desired 
color, and stipple it; paint right over the edge line and foil letters. 
When this groundwork is dry peel off the foil letters, and if the panel 
is to be perfectly opaque back up the whole with foil put on with 
varnish; this will hold all securely. Should you desire to shade the 
letters on the panel do it before putting on the background, like dark 
green, chocolate, black or blue. No outline may be needed in such 
cases. When removing the foil you leave the foil letters on the glass 



THE EXPERT SIGN PAINTER 



81 



and shade them. Should you shade the letters on the plain glass do it 
after you remove the foil from outside the edge line and before you re- 
move the foil from the inside of the edge line. 

Japanned Tin Signs. — Black japanned tin for signs comes in 
different sizes, and also may be cut to meet any special requirement 
as to size. Such signs are very popular for sill signs, for physicians, 
dentists, etc., and are usually lettered in gold leaf or gold color paint. 
Take a sheet of manila paper, an inch larger than the tin, draw the 
desired inscription on the face of it with a pencil, making the letters 











-X- 


~r-- 


> ™ " 


-r ■ 


> 


i 


m 






— 


.in 


±m _ - 


^ 


I 




-T - 










.IK 


— t-_. 


/ — - 


\ , 


^ 


--P- 










r 



ElTcfl 

as perfect as they must appear on the sign, with the necessary border 
space around the letters. One way is to lay the paper on the tin 
and fold the edges under the tin, then lay in your letters. When you 
have pencilled the letters in, remove it from the tin and turn it up 
side down and rub whiting or dry yellow ochre over the unlettered 
side; turn this colored side down on to the tin and carefully fold over 
the paper to hold it to the tin. Take a hard lead pencil with a sharp 
point and carefully trace in the letters, which will result in transferring 
the inscription to the face of the japanned tin. Lift the paper and 
gently blow away the loose pigment, size the outlined letters, if for 
gold, or paint them in. If the letters are to be gilded you will have to 
protect the face of the tin with egg size, made by beating up the white 



82 THE EXPERT SIGN PAINTER 

of an egg with water; some use the cut side of a raw potato. When 
dry trace in the design or letters, and fill in same with fat oil size, 
using a thin size, else the letters will appear raised. To prevent laps 
of leaf showing there should be plenty of tack to the size, as it is always 
very difficult to gild on japanned or any very smooth surface, unless the 
size is exactly right. Cut strips of leaf from the book, and apply. For 
small letters a solid piece, enough to cover the entire letter, will save 
time and waste. After the gilding is done remove surplus leaf with a 
wad of raw cotton, repair any possible breaks, then set it aside until the 
next day, when the sign may be cleaned off and delivered. 

Exactly as you pencil the letters with the size will your lettering 
appear; therefore trace the letters carefully with the size, and use thin 
size, avoiding fat edges to the letters. A trifle of white lead added to the 
oil size will improve it. You will find it best to apply the oil size 
one day and gild the next, but the size must not dry too much. It must 
have plenty of tack, as already stated. 

Lettering on White Tin. — Take a sheet of bright tin and wash 
well with sal soda water, let it dry, then coat it with pure white lead 
thinned with turpentine and adding a little varnish to bind it. Give the 
tin two coats of this paint, each coat to dry hard, sandpapering to pro- 
duce a smooth surface. Letter with any desired color, ground in japan, 
and thinned with turpentine, with a little varnish as binder. The 
sign may be varnished when dry enough. The back of the tin should 
have one coat, to prevent rusting. 

Another good effect may be obtained by painting the background 
some light color, and outlining the letters in black and shading them. 
The outlining and shading make the letters look as if standing out from 
the tin. Some scroll work may be added, if desired, then the sign 
may be varnished. 

The best paint for tin should be something like that used by the 
carriage painter, one possessing both elasticity and hardness. A quick 
drying color will not do, nor will oil paint; the one is too brittle to 
endure, while the other will dry on top while the bottom is soft, a bad 
foundation for gold leaf or varnish. 

Glazed Tin Sign. — Varnish a sheet of bright tin with damar 
varnish to which has been added a little good hard drying floor varnish, 
enough to harden the damar, but not enough to discolor it. The 
brighter the tin the better the effect, as the idea is to produce an imita- 









THE EXPERT SIGN PAINTER 83 

tion of silver. Cut in the letters and fill in with any desired color. 
This makes a cheap and durable commercial sign. 

Gold Color Varnish for Tin Sign. — Take a pound of finely 
powdered crystals of copper acetate and place it in some warm place 
until it turns a pale brown, then rub it up with a little turpentine and 
mix with three pounds of copal varnish at a temperature of 70 deg., C. 
Solutions will be complete in about 15 minutes; then after standing 
a few days the varnish will be ready for use. Apply the varnish to the 
clean bright tin and let it dry in artificial heat, for the exact color 
depends on the drying temperature. The use of the best copal varnish 
will insure a very permanent gold color, and the varnish will adhere 
tenaciously to the tin. 

Frosted Tin Signs. — Take bright tin and make it clean. Make up 
a solution of two parts sulphuric acid and one part rain water, or any soft 
water will do. Make the tin quite warm, but not so warm that the 
hand cannot be held on it comfortably. . With a swab, a sponge 
on a stick will do, coat the tin over with the acid solution; it 
will quickly evaporate; then wash off the tin in cold running water. 
If it is to remain in the natural tin color it may be dried and varnished 
with good clear copal varnish. The varnish may also be tinted with any 
transparent pigment. When dry the tin is ready for lettering. 

Sheet Zinc Sign. — This metal possesses the advantage of not rust- 
ing, and it is flexible, light weight, and durable. Galvanized sheet iron 
ranks next in desirability. The metal is particularly adapted for 
making drum signs, for corner display. As paint does not adhere well to 
zinc or galvanizing the surface may be treated with vinegar or oxalic 
acid, to cut its so-called grease. There is not so much difficulty with 
zinc as with galvanizing, though both are the same metal. Before 
applying the acid rub it off with fine sandpaper, say No. 1/2 or No. 1. 
First-coat with white lead in oil, thinned with equal parts of boiled oil 
and turpentine; make the surface smooth, lay it off cross-wise and 
length-wise, with the tips of the brush; let this dry hard, then second- 
coat with flat paint made from white lead darkened with lampblack to 
a very dense black tone. When dry, letter with oil size to lay gold or 
aluminum leaf; shade letters with coach black in oil and a little japan 
drier, making a glossy shade; then high-light with straw color. This 
is one of many ways of producing a good effect. 

For a hurry-job, inside work, instead of white lead and black for 



84 THE EXPERT SIGN PAINTER 

second coat, use drop black with a little varnish or a drop or two of oil 
for binder, . thinning down with turpentine ; quick size for lettering 
and clear varnish for the shading, high-lighting with medium yellow 
in japan. 

For a vermilion background first-coat with 1/3 white lead and 2/3 
red lead, thinned with boiled oil and turpentine; apply smoothly and in 
a thin coating. Brush marks may be avoided by laying the work off 
both ways. Let this dry 36 hours. Then give it a coat of English ver- 
milion, dry, working it in rubbing varnish thin enough to apply without 
further thinning. When dry rub with curled hair and apply another 
coat of the same mixture. It is now ready to letter; if surface is too 
glossy or tacky rub off carefully with a little pumice powder and water, 
or with starch, fuller's earth or French chalk, pounced over the surface. 
These will prevent gold leaf from sticking to the surface outside the 
letters. 

There is a right and wrong way to use vermilion on such work as 
this ; most painters make the mistake of applying only the last coat with 
it and varnishing it to protect it. The right way is, first, to use only 
the best English vermilion, then to use it for each coat, including the first 
or priming coat. Then give a final coat of durable varnish over ground 
and lettering. This will usually give a job that lasts several years, the 
only change being a slight darkening. 

Zinc signs that are to be smalted may be prepared with white lead 
made quite dark with lampblack, with the thinners indicated above, 
while the last coat is made flat, for gilding on. 

Galvanized Iron Signs. — The galvanizing must be cut with 
acid, letting it dry on. Prime with red lead thinned with raw oil and 
a little japan drier. Apply a heavy coat but put it on smooth and even. 
Paint any holes and edges, to prevent rust. 

Metal Board Signs. — The use of sheet steel boards is of rather re- 
cent date, having its origin in the great advance in the price of lumber and 
the delays in securing the wooden boards on time. As one expert said, 
any sign painter using steel boards will be reluctant to ever give 
it up; it has many advantages over wood. Billboards formed of 
galvanized steel or iron are really cheaper and more practical than the 
wooden boards. There is one possible trouble in making such signs, 
the metal may buckle. To prevent this as much as possible be careful 
to make your frame exactly true or square, and in nailing start in the 



THE EXPERT SIGN PAINTER 85 

middle and nail both ways from there; some start at a corner and work 
right around the sides, but this is more apt to produce buckling. 

An expert tells how he began in this branch of the business. He 
ordered ten sheets of 23 x 12 gauge No. 23 galvanized billboard 
stock; 500 lineal feet of rough 1x2 inch strips, 500 lineal feet of 1 x2 
inch dressed strips, and 500 feet 1/2 inch quarter-round. All this for 
the small swing signs, wall signs, etc. The frame was made up flat of 
the rough 1x2 stuff, and this was covered with the dressed 1x2 inch 
stuff on edge; this allowed a space for the quarter-round, covering all 
the nails used in fastening the sheet to the frame. 

These boards may also be used for large, raised letter gold signs by 
making holes in the sheet iron and screwing the letters on from the 
back. This makes it easy at any time to remove a letter for any pur- 
pose. 

Making up the sheets to form large billboards and bulletin signs he 
found the 10-foot board the most practical for most or all occasions, 
the sections being made up either into two or three strips wide. The 
reason for making the board in sections is that it is then easy to take 
it down when desired to do so. Often such boards have to be removed 
to new locations, as we can seldom if ever have a permanent lease on a 
place. The 1x2 inch strips do equally well for the big signs as for 
the smaller ones, only it should be observed that instead of only one 
thickness of strips, as with the smaller signs, we can double the thickness 
by nailing them one atop of the other, filling in the spaces between. 
They are 2x2 inches in thickness. When several sections are to be made 
up a form can be squared on the floor and every section made according 
to its form, ensuring a perfect square and uniformity of shape. 

Build good galvanized iron bill- and bulletin-boards, and get the best 
possible positions in which to place them; also secure long leases if you 
can. 

The Bulletin Board Sign. — There are several ways of putting up 
bulletin boards, but the main consideration is, substantiality. Use good 
lumber and plant the posts about four feet deep. Where there are no 
stones in earth a boring auger may be used, and this will bore to the re- 
quired depth with speed and ease. Three feet would probably do, but 
as such a structure frequently has to withstand a tremendous wind 
pressure it is better to get the posts deep enough. Bracing also is 
necessary, to hold the structure. Use No. 2 shiplap boards, planed on 



86 THE EXPERT SIGN PAINTER 

one side only. Lead the laps before placing. Get V-crimped painted 
roofing, in 10-foot lengths. If possible, lay the sheet on a cement 
pavement or other suitable surface and tramp it over, to flatten out the 
crimp. Then lay a piece of wood, 2 by 4, on the sheet and pound it with 
a heavy hammer, to flatten the sheet more perfectly. This will give 
you a sheet 26 inches wide by 10 feet long. Build the bulletin 
in two sections, with two or three sheets to a section, the seams running 
vertically. Allow one inch of each sheet to extend out on one side 
to lap over the next sheet or section. For a 10 by 10 foot sign use a 
three sheet and a two sheet section. For a metal sign the painted sheets 
are better then galvanized metal. Do the painting in the shop and when 
dry take the painted sheets out to the job. Nail on the top sheet first, 
and lap the next sheet over this, so that the upper edge of the second 
sheet will catch rain and carry it back of the sign, not allowing it to go 
over the front and discoloring the work. The sheets are run horizon- 
tally. For fastening the irons on the frames use 3/4 inch corrugated 
fasteners, Nos. 4 or 5. You will find these very useful. 

Painting the Bulletin Board. — As in painting wooden boards, 
iron or metal boards must be properly coated with paint. Metal dif- 
fers from wood, of course, so that the method of painting it is different. 
Make the sheets clean and then prime every part with red lead thinned 
with raw linseed oil. Apply paint enough to form a good solid sur- 
face. Old painted metal signs should be scraped and all loose paint 
removed, after which apply benzine or turpentine, or benzol, brushing 
it out well, after which the paint may be applied. Galvanized iron 
must be given an acid bath when new, same as new rolled sheet zinc. 
A tablespoonful of nitric or muriatic acid to the gallon of water will 
be strong enough, after which slightly rub with No. 2 sandpaper, to 
slightly abrade the surface. The best way to treat galvanizing to 
prepare it for paint is to use a preparation of copper chloride, copper 
nitrate, and sal ammoniac, two ounces of each, in a gallon of soft 
water. Place in an earthen vessel. Then add two ounces of hydro- 
chloric acid. Apply with a bristle brush, and when dry it may be 
painted. At first the metal will be black, but this will soon change 
to a gray color. Diluted hydrochloric (muriatic) acid also is effective, 
forming with the metal muriate of zinc, which will take the paint well. 
On such a surface as the acid treated the paint will usually hold very 



THE EXPERT SIGN PAINTER 87 

well, but it is advised to use rather sharp paint, with turpentine, and 
avoiding too much oil. Red lead priming is excellent, though some 
think equal parts of red lead and metallic brown better. If cost is 
a factor it would be economy to use either iron oxide or Venetian 
red for the priming. In any case one coat is enough on this kind 
of surface, unless a certain color finish is desired, when two coats may 
be given. 

Bulletin signs are done very much the same as wall signs, as con- 
cerns style of letter and mechanical work, but white letters cut in 
with black are given a day for drying, instead of being cut in at once, 
as wall signs are. The letters and filling-in colors are quick drying, 
being those ground in japan, and they are thinned out with turpentine. 
The form of letter is the stout; the ground may be almost any color, 
though white letters on a black or blue ground gives a very attractive 
sign. A suitable border around the sign helps it, say a 2-inch stripe 
for a 10 by 20 foot board. And double lines, the inner one half the 
width of the outer one, look well. Make the border the same color 
as the lettering. But if two colors are used in the border then make 
the inner one the lighter, if the background is dark ; reverse this order 
if the background is light. Never place two colors of the same depth 
of tone side by side. If there are curved lines, leaving some space, 
fill in with scroll work. For ordinary plain work employ a simple 
scroll ; for more ornate lettering use a more elaborate scroll. 

Cheap work, cheap paint; a white ground may be made with a 
compound white lead, thinned with benzine. 

Smalted Ground with Raised Wood Letters. — Make a frame- 
work with 3 by 7/8 inch strips and crosspieces, the latter four feet 
apart or where the sheet iron butts end to end, and a crosspiece in be- 
tween the joints. Nail the sheet iron to the frame. About a half- 
inch from the edge, and where the sheets meet, lay an inch strip of the 
iron under the joint and leave the sheets about 1/8 inch apart and nail 
them down to the crosspiece, about an inch apart. Now get the tinner 
to solder up the joint and scrape it down even with the surface, then 
around the edge place the usual band and moulding, and paint it well, 
a coat of red lead paint on the iron part first, and two coats of lead 
paint after that. Then screw the letters on from the back and finish 
up the job as desired. 



88 



THE EXPERT SIGN PAINTER 



The smalted surface looks better than the varnished, as the latter 
shows up any buckling; select sheets that are perfectly flat and free 
from all bends and breaks. 



HOW TO LETTER VEHICLES 

This form of lettering is somewhat different from that employed 
in general sign painting. Usually the style of letter is of the rather 
ornate, even the plain block letter being shaded, with at times two or 
more colors and shades. And when a plain letter, without ornamenta- 
tion, is used it is most commonly on the French Roman style. Extended 




letters are frequently used in wagon lettering, though the space may 
be rather restricted and the lines rather irregular. As to color there 
is nothing like it in ordinary commercial sign lettering. Its use is 
free and with many beautiful combinations of colors, the effect being 
still further enhanced by glazing. The lettering is done with coach 
painters' colors, those ground in japan, and hence, as a coat of varnish 
goes over all the letters, all the surface of the work must be very 
smooth. 

When a shade is used on letters the rule is to let it touch where 
gold, silver or aluminum is employed, making a "close shade." But 
if the letters are done in color there must be a little space between the 
letter and the shade. Gold letters on black or white ground may be 
shaded with almost any color but yellow. With gold letters on a 
colored ground use rich reds, greens, blues or umber shades. For 
instance, take a rich green ground, a gold letter, and a rich red shade. 



THE EXPERT SIGN PAINTER 89 

Black letters look well when shaded with almost any color, especially 
the primary color series. 

Spacing and punctuation are followed as in general sign painting. 
The alphabets are usually the ornamental ones, these being especially 
adapted for such work. Very plain letters will do on wagon work, 
but in general the more ornate letter looks best. 

Lettering Wagon Panels. — As the panel will have the same let- 
tering, etc., on both sides it is advisable to use the following method: 
Lay out the inscription in white chalk on one panel, and then take a 
sheet of paper — newspaper will do — and carefully but firmly press it 
against the lettering, using a soft cloth to press with. This will leave 
an impression on the paper that may then be transferred to the other 
panel. Use the soft rag again. This must be carefully done, of course. 
In case the size of the inscription is too large for one sheet of paper, 
register the first "pull" on paper so that another sheet may be fitted 
accurately for another pull, covering the remaining part. This plan 
will be found to save time and also insure getting both sides alike. 

If several vehicles are to be done with the same inscription it is 
best to use a stencil. This may be done by coating a sheet of manila 
paper with japan black and when it is dry press it against the chalk 
inscription, then prick out the letters, thus forming the stencil plate. 

Lettering Diagonal Panel. — In placing the letters on a slant- 
ing or diagonal panel the rule is, to let the slant run towards the 
highest point of the panel. 

Forming Skeleton Letters. — The rule in making skeleton or 
outline letters is to allow size of line to be on a basis of a 1/4 inch 
to a 6-inch letter, and 3/8 inch for a 12-inch letter. Fill the inside 
of the letter with any color that will harmonize with the other colors 
used on the job. The filling, etc., may be done in gold or color, and 
the skeleton outline may be fine-lined on both the inner and the outer 
edge. 

Decalcomania Letters. — These letters save little on the cost of 
hand-work, because of the fact that there is no standard car letters, 
where such letters are most useful. But where the painter is not 
an expert letterer the decalcomania or transfer letters are very use- 
ful. It may be true, however, that the unskilled painter may not 
be capable of handling such work properly, or may be too slow to make 
it economical. Then where there are grooves or beads to letter over 



90 THE EXPERT SIGN PAINTER 

the transfers would be useless, as a rule. On such a surface the ex- 
pert with lettering brush can do the job much faster than with trans- 
fers, even where they can be used at all. And where large plain let- 
ters are used, without shading or edging, and such is commonly the 
style with passenger car lettering, the sign painter will do it quite as 
rapidly as the man with his transfers. All gilded work on car let- 
tering is done with gold, but the gold on the transfers is always imita- 
tion, a gold-color glaze over silver or aluminum leaf. Stencils may 
be used to some advantage where the surface is plain, and will perhaps 
prove better than the transfer. 

Decalcomanias may be used to advantage in many places, and with 
economy where two or more may be transferred at the same time. 
They also do for certain interior work, such as water coolers, doors, 
etc. For small sign plates they cost less than hand work. A car 
painter says he did nine cars with transfers and that the entire cost was 
less than it would have cost for the gold leaf used in lettering the same 
job. But as previously stated, the transfers do not have true gold 
leaf. 

Some Useful Hints. — Oil gold size should not be used when lay- 
ing gold leaf on wagon work. Use a quick size, which can be made 
from gold size japan and quick rubbing varnish or coach finishing var- 
nish. If you color the size add as little color as possible, just sufficient 
to enable you to see your work. Do not add turpentine to the size, for 
that will dull the luster of the gold. Also, do not apply the leaf 
too soon after applying the size, for that also will dull the gilding. 

Don't outline the letters in sizing; finish each letter before you leave 
it. 

When laying out your work make light-faced letters, keeping the 
words and letters well spaced apart, for lettering on a wagon is to 
be read while the vehicle is in motion, as well as when not in motion. 
If the letters are heavy-faced and close together the inscription will be 
blurred while in motion, and hence very difficult to read. 

The letters may be shaded in any manner you wish, and you may 
use colors as brilliant as desired, but you must have regard for color, 
harmony, contrast, and good taste. 

It is now quite the thing to not shade the letters, done in gold, but 
to line or edge them with a strong color that will contrast well with the 
ground color. 



THE EXPERT SIGN PAINTER 91 

Keep the work as neat and clean as possible. Use butter-fine colors, 
the best there are. 

Be sure that the chalk crayon you use is free from grit, or your 
work will be very badly injured. 



ACID-EMBOSSING BRASS SIGN PLATES 

T,he brass plate used for this work is of 16 gauge, or 1/16 inch 
thickness. One side must be polished, and on this the lettering is done. 
The plate must be perfectly clean and free from grease, etc. Wash 
in strong sal soda water, rinse in clear running water, and rub dry. 
The border and inscription is then traced in with the best asphaltum 
varnish, adding enough turpentine to make it flow easily under the 
pencil. This must be allowed to stand from 24 to 48 hours to become 
hard-dry. Keep plate and asphaltum slightly warm while doing the 
cutting-in with the varnish ; an alcohol stove at hand, with the cup 
of asphaltum on it, will be a convenience; be careful of fire. 

Draw your lay-out or design carefully on paper, using a lead pen- 
cil; then place a sheet of carbon paper on the brass plate, lay your 
design paper on that, face or inscription up, then with a hard, pointed 
lead pencil trace the inscription with gentle pressure, which will trans- 
fer it to the brass plate. In making the design or inscription allow 
plenty of margin and neither unduly spread the letters nor crowd 
them. 

Now we are ready for the embossing process. The first thing to 
do is to make a 3/4 inch dam around the plate, to hold in the acid. 
The wax used is composed of beeswax 2/3 and rosin 1/3, or beeswax 
with a little asphaltum to make it more pliant. Press the wax to the 
plate so that it will be perfectly water tight. 

Two coats of asphaltum are best on the letters, and two days for 
drying; a little more time and trouble with these preparations will 
often save time and loss in the finishing. 

The embossing fluid is made by mixing together two parts nitric acid 
with three parts water. Some use only two parts of acid to three 
of water. In any case it is best to test its strength on a piece of brass 
before using it in the work. If the acid bubbles it is too strong; add 
a little water. If it does not eat fast enough add a little more acid. 



92 THE EXPERT SIGN PAINTER 

Now pour the acid on to the plate to a depth of about 1/4 inch. Watch 
the process; stir the fluid now and then with a feather, to keep the 
acid, weak from eating the metal, with that which is strong. As soon 
as you think it has eaten deep enough, which can be ascertained by 
means of a pin, feeling the edges of the eaten letters carefully, or by 
carefully tipping the plate up, break away a corner of the dam and 
pour off the acid. If eaten deep enough wash off the plate in run- 
ning water, wipe dry and remove dam and asphaltum, the latter with 
turpentine or benzine. The plate is ready now for filling the letters 
with cement. 

This cement may be described by several different formulas: painters 
have their favorite one. 

No. 1. — English patent drier in paste form, colored with dry lamp- 
black, for black letter; with dry English vermilion for red. Work 
the ingredients together with a spatula to form a stiff putty. 

No. 2. — Dry white lead and powdered litharge in equal parts, with 
lampblack or vermilion to color; make into a stiff paste with varnish 
and coach japan. 

No. 3. — Make up a stiff paste with dry drop black and boiled oil, 
with a little sugar of lead for drier. 

No. 4. — Melt together equal parts of dry drop black, best asphaltum 
gum, hard drying body varnish, and the best coach japan. 

No. 5. — Shellac varnish 50 parts, powdered chalk 40 parts, dry lamp- 
black 12 parts, and turpentine 10 parts; mix to a paste or putty. 

No. 6. — Melt together equal parts of gutta percha and the best 
asphaltum gum, in an iron pot; add of pulverized shellac a quantity 
that will equal one-fourth the bulk of the other ingredients. Use 
while hot. 

No 7. — Four ounces each of best asphaltum gum, orange shellac gum, 
and dry lampblack; pulverize the two gums, add the black, and mix 
all together. Melt over a slow fire, or place in the etched letters and 
heat the plate to melt the filling. Let the filling become cold, then pass 
over it a hot iron, to level the filler and make it glossy. 

White Cement Filler. — To equal parts of the best coach japan 
and rubbing varnish add enough dry zinc white to form a paste or 
putty. Do not fill the letters quite full, leave a slight space to be 
filled with a coat of flake white ground in japan and thinned with 



THE EXPERT SIGN PAINTER 93 

turpentine; apply with a soft hair pencil. When hard-dry polish 
with a soft rag by gentle rubbing. 

Of all the above formulas for black letters we recommend as being 
the best the first two. 

Lead Foil Method. — Make up a mixture of best asphaltum var- 
nish 1 pint, beeswax 2 ounces, dissolved in a little Venice turpentine, 
and 1/2 ounce of powdered pale rosin; heat all together over a slow 
fire. Give the plate a stout coat of this, and when it has dried to a 
proper tack lay on it a sheet of lead foil, which press evenly and firmly 
to the plate. Pounce on the inscription, and with a needle fastened 
to a stick cut out the letters, raise and remove the cut-out foil. Remove 
the exposed size with turpentine, rub off clean, and polish the brass. 
A bristle brush in turpentine is good for cleaning out the letters. A 
metal ruler is useful for cutting out letters with, forming a guide 
that will make clean edges. Be careful not to raise the edges of the 
remaining foil. The sign is then ready for the acid. After remov- 
ing the acid wash the plate clean, let it dry, and apply three or four 
coats of varnish-black. Let this dry; then remove the remaining foil. 

Another Method. — The following method comes from the head 
of a sign painting school. It is worth trying for its novelty, if for no 
other reason. We have never tried it, nor ever heard of any other sign 
painter trying it. The plan is simple enough. Coat the brass plate 
with asphaltum varnish, let it dry, then paint in the lettering with 
oil paint. It is said that the oil paint will soften the asphaltum, and then 
the latter may be removed by rubbing; this will leave the lettering 
clear of asphaltum, and ready for the acid. 

Some Notes 

Gauge is a term used in designating the thickness of the brass plate. 
No. 16 gauge, or 1/16 inch thickness, is that commonly used for etch- 
ing brass signs on. 

As the etching acid is injurious to the eyes and throat, the work 
should be done where there is plenty of free air, to carry off the fumes. 

The acid, after using, may be kept in a bottle for use again, when 
it may be made strong enough by the addition of more acid. But do 
not pour the used acid back into the originaL bottle. 



94 THE EXPERT SIGN PAINTER 

The wax used in making the dam may also be kept for use again. 
It takes the acid from four to eight hours, as a general thing, to 
eat out the metal sufficiently, according to its strength. After the 
first hour it will require little attention. 

A spirit lamp with a piece of sheet iron on it so that the flame will 
heat it enough to keep the mixture warm is useful when using the 
lettering asphaltum. 

It is not necessary to use the acid if you have access to a graver 
and routing machine. With the graver outline the letters, and use 
the router for removing as much of the metal inside the outlines as 
you wish. This does finer work than the acid process, though it is 
not always available, and then the acid way is the best. In cities this 
work is generally sent to factories making a specialty of it. 

When the cement filling has about half-dried or set you can clean 
the surface of the brass plate with a cloth and dry lampblack. 

The letters may be coated with black baking japan, if it is desired 
to use the baking process. A stove oven will do if the plate is not too 
large. Place the plate face up on the bottom of a sheet iron pan ; 
cover with another pan or piece of sheet iron, to exclude dust or dirt. 
Place in the oven and see that the oven registers 300 deg., Fahr. If, 
after a few hours, the black does not seem to cover solid, apply another 
coat of the black japan and bake again, even repeating a third time if 
necessary to get a strictly first-class job. 

As acid does not make a rough surface it may be well to scratch 
it with an awl, to insure the cement or coating to hold well. 

When about to use the acid, see that your plate lies level on the 
table ; have a few small wedges to level up with. 

Use the simplest formulas that will do the work satisfactorily for you ; 
be careful to note proportions of ingredients to use, follow directions 
carefully, don't be impatient, take time, until you are an expert at least. 
Press the cement carefully into the etched parts. Use a celluloid knife, 
to prevent abrading the metal. Clean up plate with rag and tur- 
pentine, wash with water made slightly acid with oxalic acid, rinse 
in clear water, and polish with dry rag and lampblack. 

Nitric acid eats brass, copper, zinc, etc. It does not affect glass. 
Keep it in a glass bottle with stopper. It is a highly corrosive fluid. 
If it gets on your flesh treat at once with lime water or baking soda; 
to control the pain let water then run over the burn, to remove the 



THE EXPERT SIGN PAINTER 95 

soda or lime; then treat with carron oil, which is a mixture of sweet 
oil and lime water, equal parts. Bandage lightly. If the acid gets 
into the eye, apply lime water, to be followed with liquid vaseline, to 
allay irritation. Remain in a dark room. 



SOME PRACTICAL FOOT NOTES 

If there is to be a light tint or colored ground don't back-up with 
asphaltum. 

Gold scrolling that is to be shaded should not be shaded with 
asphaltum if work is to be varnished ; the asphaltum is apt to work up 
under the varnish. 

Never apply a coat of quick-drying color to a coat of slow drying 
color, unless the latter has had several days for drying, and vice versa. 

For filling-in letters there is nothing better than the flat hair brushes, 
which come in sizes from one inch to four inches wide. 

Don't spare the gold leaf when working on glass, especially on small 
work; time is costlier than gold. 

Windows of stores that are peculiarly liable to sweat, such as 
restaurants, etc., are uncertain about holding gilded letters. They will 
not stay. 

Legibility is the first requirement of a business sign. No matter 
how handsome the sign, if not perfectly legible it is a failure. 

Don't lay out a job hap-hazard, take time to plan it, and then do the 
work carefully. 

Perfection in one style of letter is better than mediocrity in a dozen. 
The sign painter who bases his eminence in lettering upon his skill 
in many styles may claim eminence in diversity of attainments, but 
hardly in their artistic quality. 

The letters which present the most difficulty to form are the C, G, 
O and S. The thing to avoid in making these is lopsidedness. For 
this reason it is well to draw the upper and lower curves first. 

Lines under words, large initials, and external shading tend to spoil 
any design. It is only necessary to know that the first letter in an 
important word should be imperceptibly taller, wider, and stronger 
than the others. 

All straight-line letters may be trimmed up with a blunt stick or 



96 THE EXPERT SIGN PAINTER 

pencil handle. In the case of lines a double pointed stick may be used 
so as to trim both edges of the line at the same time. 

Printers' types should be studied with caution, especially italics, which 
retain bad faults. 

If you make a good lay-out, though your letters may not be per- 
fect, you will get credit for a good sign, but a poor lay-out will spoil 
the effect of perfectly formed letters. 

If accidentally you apply a piece of gold leaf to the glass too soon 
after sizing with water size, and it starts to slide down, rub your 
finger quickly on the side of your nose, then under the sliding leaf, and 
the leaf will stop. 

When lettering on water paint grounds do not use oil colors. Use 
color ground in japan and thinned with benzine. Or water color with 
a binder of gum Arabic or glue size. 

Line shading is sometimes desirable; this is done by running a dark 
line on the shade, adjoining the space left between the letter and the 
shade; this line should be a color that is two or three shades darker 
than the shade proper. 

Letters may be shaded and blocked on top, bottom, or on either side, 
according to the point of view. Keep the shading color cool and trans- 
parent. Let all slanting lines from corners of letters to corners of 
block be at the same degree throughout the sign. 

Two or three colors of bronze may be placed on a line of lettering 
by having as many pads, one for each color, and doing one-half or 
one-third of the letter with each pad. 

After finishing the sign clean off the chalk marks, etc., and use 
a soft rag, with a drop of oil on it for a gloss, but for a flat ground use 
a chamois, a little damp, finishing with a clean, soft cloth. 

If a board sign, paint it nice and white and make it smooth ; set 
out the inscription with chalk, dust off the chalk when done, and 
cut-in or paint the ground color, vermilion or any dark color, around 
the letters, being careful not to have the color set too quickly; and 
fill up the ground with same color, using a soft flat brush, flowing the 
color evenly, not rubbing it out. 

You can gild on glass without using alcohol in isinglass size, but more 
care is required in having the size fresh, especially in hot weather. 
The grain alcohol, however, is a good thing to use. 



THE EXPERT SIGN PAINTER 97 

Spar varnish is desirable, applied over the black backing on gold 
leaf. Adding a third of fat oil to the varnish improves it. 

To insure a good job of gilding have the size hard but with enough 
tack to hold the leaf. After gilding rub down carefully with absorbent 
cotton, then wash with perfectly clean water and clean chamois. 
Cold water should be used. 



LETTERING ON OIL CLOTH, CANVAS, MUSLIN, ETC. 

Muslin Work. — Muslin may be bought ready sized for sign work. 
Plain unsized muslin may be prepared in the shop by sizing it after 
tacking it up, two coats of glue or flour size making a good surface, 
though one coat will do on ordinary common work. Or the unsized 
muslin may be used. Sign for inside use may be sized with cold 
starch water, which will stiffen the muslin and give a good ground 
for lettering on ; it will not stand outside exposure. 

It is necessary to have a smooth, flat surface for muslin work. The 
shop wall is a favorite place, in lieu of which wall board may be used, 
attaching it to the wall. 

Cut off the quantity of muslin required from the roll, and tack it 
along its edges, about 18 inches apart, pressing the tacks in with the 
thumb, but if too hard then drive them lightly with a light tack 
hammer; use common 5/8 blue or tinned tacks. . It is a good idea to 
run a horizontal line along the top of the wall surface, to hang the 
muslin by; then take the bottom edge at the middle and pull down 
and tack, then stretch and tack all around. Get the muslin stretched 
nice and smooth. After cutting off what muslin you need for the 
job roll it up and put away in a drawer. Keep it clean, and smooth. 

You are now ready for the lettering. If the sign is rather long you 
can run horizontal lines with a line filled with charcoal, snapping the 
line in the usual manner. The letters should be lightly sketched in 
.with a charcoal crayon, so that the marks may easily be removed with 
a feather duster or whisking a light cloth over the work; space and 
make the letters neatly, then begin the lettering. 

Fresh made color is best; do not mix more than enough for the job, 
or for the day, if much is to be done. Use dry pigments and mix 



98 



THE EXPERT SIGN PAINTER 



with varnish or gold size to form a paste, which is to be thinned out 
with benzine; color ground stiff in oil also may be used. With black 
it is best to use gold size, as varnish does not dry this pigment sufficiently. 

On large letters you may run the outlines with a lining fitch and 
fill in with a No. 11 or 12 flat or round fitch. A flat camel hair 
brush is a good lettering tool. For cheap work, which means quick 
work, use the one-stroke brush on letters whose size will suit such 
a brush ; the idea is to make a member of a letter with one stroke of the 
brush. This of course cannot be done on large letters. 

The lettering color may be mixed and thinned according to require- 




ments; for black, one part, thin with gold size two parts, turpentine 
three parts, and boiled oil a little less than one part. Most other pig- 
ments may be mixed with boiled oil two parts, gold size two parts, tur- 
pentine five parts, and pigment one part. 

Useful colors will be found in permanent red, ultramarine blue, 
medium chrome yellow, and tints made from Prussian blue, lemon 
chrome, and white lead. As dry ultramarine blue does not dry well 
the addition of some Prussian blue, say about one-third, will help 
it; if this makes it too dark you may add a little white lead. Mix 
with varnish and benzine, adding a little boiled oil to the varnish and 
mix with it before adding to the color ; do not use too much benzine, as 



THE EXPERT SIGN PAINTER 99 

it will weaken the binders. Aniline reds and blues will run in the rain, 
hence for outside muslin signs it is better to use English vermilion, 
though it costs more. Plenty of varnish will make any color more 
durable on this kind of work. 

In laying out the sign avoid making too many straight lines; break 
this by running a curved line when possible. The most important 
words may be put in large, bold letters, on straight and curved lines, 
with a scroll or two by way of embellishment. Surround these with 
light shades of color. Some signs must necessarily be done in straight 
lines. 

If you are going to letter on unsized muslin then draw it tight on 
the board and use a paint containing neither oil nor turpentine, which 
will spread the color beyond the letters, or cause a halo of oil that will 
deface the sign. The old time way was to wet the muslin, which pre- 
vented the halo effect, but that was when it was not known that mixing 
without oil or turpentine would prevent the halo ; benzine was not in 
use then or known. However, the sized muslin is so much easier to 
letter on that it is economy to use it, in time saved. Some thin with 
three parts damar varnish and two parts benzine. Most sign painters, 
when using the wet muslin, allow it to stand after wetting for 15 to 
20 minutes before lettering ; then if too wet they remove excess moisture 
with a dry rag. The muslin must be quite damp, though not wet. If 
too wet there will likely be gray spots in the letters; to remedy touch 
them up when the paint is half-dry. Another thinning medium used 
by some is composed of japan 2/3, oil color 1/3, thinning with tur- 
pentine. 

Bright colors make a very attractive muslin sign, though as a gen- 
eral thing only black letters on the white ground are used. Bright 
red and blue are favorite colors. To cheapen the cost of English ver- 
milion add to it twice its bulk of the best whiting, previously grinding 
the whiting on a slab, in turpentine. Mix the vermilion with gold 
size japan, then add and mix with it the whiting mass. This adulter- 
ation does not seriously affect the red color, but it will make it more 
durable than a cheap red, while the shade of red that it will yield 
will be pleasing. We have seen a sign where the initials of each word 
was done with a cheap red, the rest of the letters being in black. In 
a short time the red faded out, leaving a sign that looked like 
this: 



100 THE EXPERT SIGN PAINTER 

HIS UILDING ND 

OT OR ALE 

NQUIRE ITHIN 

Dark blues, greens, reds, and browns give strong effects in muslin 
sign work, and canary yellow, lemon yellow, and very light shades 
of blue, green, and gray make the best shading colors. For the high 
lights use white, chrome yellow and golden ochre. As muslin signs 
are for the purpose of advertising, and mostly of a temporary nature, 
it is advised to employ plenty of contrasts and pure colors. It is a 
good rule never to entirely hide the white ground. The following 
will explain this: A sign that is to be done with black letters and red 
capitals on a green ground may be lettered as usual, and then paint 
in the green ground, but leave a margin of pure white one-half inch 
wide. If the ground is to be black, red, or any other dark color, 
with a green letter, leave a half-inch white outline. Neither light tints 
or dark colors must touch one another, but be divided always with 
white. 

A water color may be used on outside muslin work, and it works freely 
and stands exposure very well. In a clean vessel boil one quart of 
water, and add to it while boiling four ounces of shredded beeswax 
and let the water boil until the "wax has melted. In another vessel 
have a pint of boiling water and add to it one ounce of shredded white 
soap; when it has melted mix the wax and soap solutions together and 
place on the fire and let it boil a few minutes. Next prepare a mixture 
of white glue or gelatin, two ounces, in one pint of hot water; add to 
the first solution by stirring. When ready to use it add bichromate 
of potash, at the rate of 10 drops to the pint of solution; this will harden 
the. liquid and make it weather-proof. Use at once and do not try to 
save any, as it hardens in the vessel. 

Any desired water color may be added, but if the ground is to be 
white use no coloring. 

To letter a muslin sign on both sides, either do two signs and sew 
them back to back, or coat the one muslin so that the lettering will not 
strike through. Such signs are made to swing and to be read on two 
sides. 

Painting a Picture on Muslin. — Use the best muslin and 
stretch it on a frame. Sketch in the picture with charcoal and then 



THE EXPERT SIGN PAINTER 101 

dust it off. Dampen the surface with glue size, and when dry paint 
in the entire picture with solid colors, viz. : Sky, blue or gray ; foliage, 
light green; trees, umbers and light brown; figures in flesh tints; gar- 
ments in suitable colors; animals or reptiles in colors, at all times pre- 
serving your drawing. When these local colors and tints are dry 
over-work on this foundation with the shading color and high-lighting, 
bringing out the picture in all its details, using such coloring as may 
be found necessary. 

All colors should be those ground in oil, thinned down with benzine 
and adding a little driers ; make the color rather thin. One color works 
over another very nicely. The method advised insures a flat surface 
or finish, and it will not crack when rolled ; it is the method used by the 
best painters. 

For speed the cut-in lettering excels. That is, instead of painting 
in the letters, paint around them, leaving the letter in the white mus- 
lin. Or the ground can first be painted any desired tint or color, then 
the letters be cut-in. The block letter is the one for this work, as 
it requires the least time. Also panels and ribbons may be used in con- 
nection with the lettering, in which, to place the smaller lettering. It 
is advisable always to leave a margin around the sign, say two or three 
inches, both for appearance and for convenience in tacking to the frame. 

In muslin sign work it is handy to have templates cut out of card- 
board for circles, ovals, diamonds, shields and ribbon ends. If there 
are to be several such signs made, with ribbons and panels containing 
small lettering, it will be well to make a stencil plate of the lettering. 

After your muslin sign is dry, roll it up; do not fold it, which will 
cause creasing. 

If you have several muslin signs of the same kind to do, simply leave 
the first sign on the wall until dry, then place your next muslin on 
it, and the inscription will show through, providing the muslin is not 
too heavy. But the horizontal lines should be snapt as in the first 
case. 

Lettering on Canvas. — Stretch the canvas on a frame or on a 
smooth wall, getting a perfectly tight and smooth surface. Make up 
a size with four ounces of glue to the gallon of water, adding a half- 
ounce of powdered alum, and give the canvas two coats. Use hot size, 
and let the first coat dry before applying the next. When both coats 
are dry take fine sandpaper and lightly rub off the nibs. It is really 



102 THE EXPERT SIGN PAINTER 

best to give the first coat of size 24 hours for drying, and the second 
coat ample time also. Mix lampblack ground in japan with some 
quick drying varnish, thinning out with turpentine; use the color as 
stout as you can work it. 

Soapstone Size for Canvas. — Make a stiff flour paste and thin it 
out with water so that it will work easily under the brush, then mix in 
some steatite or soapstone, powdered, using your judgment as to amount; 
cheesecloth requires the most and heavy canvas the least. It is a matter 
of texture. For common muslin use about a tablespoonful of soap- 
stone to the pint of paste. Apply it with a stiff bristle brush, a wall 
brush being best, though a round one will do. This according to the ex- 
tent of area to be coated. Or the paste may be applied with a paddle 
made from a cigar box lid, rounded off on its edges so that it will not 
make edge lines on the work; thin the edges down sharp and give it a 
coat of shellac. The flour paste must be free from lumps, making the 
whole mixture perfectly smooth. This size or grounding is intended 
for muslin, canvas, duck or cheesecloth. 

Preparing Canvas for Rolling up. — Dissolve white beeswax 
in turpentine in the cold, which will require about three days; when 
done it must be like soft soap in consistency. To 3/4 lb. of this add 2 
lbs. zinc white, ground in oil, and two tablespoonfuls of soft soap ; 
this will make a thick mass, to which must be added a little japan drier. 
Apply the mixture to the canvas with a spatula, rilling the texture full 
and removing the surplus. After it has dried, thin some of it to a 
brushing consistency with equal parts of boiled oil and turpentine; 
give it a good coat, and if it does not fill the texture perfectly give it a 
second coat. When it is dry the canvas may be painted or lettered 
in the usual way. 

Another Method. — Melt an ounce of soft soap in 30 fluid ounces 
of water by boiling; then stir in one quart of boiled oil, and when cool 
stir in five ounces of gold size. 

Halo Around Letters on Canvas. — The effect of using oil on 
canvas is the same as on muslin, hence the lettering should be done with 
benzine-thinned color. To correct a halo or oily effect around the 
letters run an outline around them with gelatine size to a little more 
than cover the halo stain ; when it is dry take the color that the letters 
were done in and trace the sized part in, keeping a very slight bit within 
the sized part. 






THE EXPERT SIGN PAINTER 103 

Lettering on Canvas Awning. — There are two main parts of a 
canvas awning, that which is stationary, and that which is not, but that 
is rolled up as required from time to time. The method of lettering 
depends upon these two conditions, and also upon the character of the 
goods, whether light or heavy weight. The part that is to be rolled 
up must first be sized with a thick gelatine size, to which is added 
a little glycerin, to make it more pliable. The part that is to remain 
stationary must be sized with glue and soap. Dissolve 8 oz. of best 
white glue in enough boiling water to cover it ; melt in another vessel 4 
oz. yellow soap, in hot water, then mix the two solutions together; size 
the canvas with this. Thin out oil color to a semi-paste with turpentine 
and drying japan; this is for the letters on the stationary part. For 
the part that is to be rolled up make the lettering color rather oily, and 
use less japan. For quick work use a good elastic varnish instead of oil 
for thinning with. Give the different coatings plenty of time for drying, 
and the same for the lettering. For cheap, quick work use japan lamp- 
black thinned with benzine; this will dry almost as fast as you can do 
the letters. For the best grade of work use the best lampblack in oil, 
thinned with a mixture of best japan driers and turpentine, or with 
hard oil and turpentine. Either of these will work on dry canvas. 
For very durable work use lampblack in oil thinned with boiled oil, 
and no japan, and as little turpentine as possible. With this latter 
method the canvas must be made damp and lettered while damp. Such 
lettering will last as long as the canvas. If the letters are to be done 
in colors, red, blue, green, etc., a dry surface requires the lettering color 
to be thinned out with a mixture of quick varnish and turpentine or ben- 
zine. To letter on a damp surface thin with boiled oil and tur- 
pentine. For white lettering use white lead in oil thinned with var- 
nish and turpentine for the first coat, and to make a very white 
surfaced letter use a mixture of white lead and zinc white, or the 
latter alone ; or two coats of pure white lead. Thin with turpentine 
only. 

Lettering Canvas Covered Trunk. — Dissolve 4 oz. glue in one 
gallon of water and add to it one-half ounce of pulverized alum; apply 
this size hot. Any good paint mixed with raw oil with about a table- 
spoonful of gold size or good japan drier to the gallon of paint will do ; 
mix the paint rather stiff and rub it well into the canvas. The sizing 
should have about 24 hours for drying. A second coat of paint will 



104 THE EXPERT SIGN PAINTER 

make a better job, but this will be according to the price. When done 
and dry the lettering may be put on. 

Re-lettering Over a Name. — If you should have an awning to re- 
letter, the old letters being in black, the easiest way to do is to make a 
black panel on the old name, using lampblack ground in japan and 
thinned with benzine. This will dry in about one hour, and then you 
can letter with gray or white. A gray letter made with a quick drying 
color will most likely cover in the one coat, by finishing with a broad 
white high-light stripe, using both the gray and the white as heavy 
as possible. 

Lettering on Shade Cloth. — Stretch the shade cloth on a frame, 
gluing the edges to the frame. Apply a coat of medium strong glue 
size and let it dry. Mix and apply a paint of the desired color, using 
white lead and oil coloring, thinned with 1/4 boiled oil and 3/4 tur- 
pentine, mixed. Strain and apply with a broad flat brush. The paint 
is very thin, more like a wash. One coat of paint on each side of the 
cloth is all that is necessary. When the cloth is dry it is cut from 
the frame, hence when you stretch the cloth remember to leave ample 
margin to allow for this cutting ; say four to six inches. 

Lettering Wagon Umbrellas. — Make up a strong solution of soap 
and water — 4 oz. soap to the gallon of water. Wet the cloth with 
this and letter on it at once. Or paint the cloth if it is desired, and 
letter on it. The paint is made of equal parts of boiled oil and tur- 
pentine, which will leave the cloth flexible and give a good ground 
for the lettering. Mix the lettering color with the turpentine-boiled oil 
mixture, adding a little gold size japan or any good drier. 

To Letter on Billiard Cloth. — Stretch the cloth on the floor, if 
no other suitable place can be found, and trace in the letters with shellac; 
also any other work that is to go on the cloth. Small letters may be 
stencilled on with the orange shellac; then paint in the letters with 
white lead thinned with gold size japan ; then the letters may be colored 
in parts or gilded, as desired. 

Lettering on Oil Cloth. — First give the oil cloth a size with ben- 
zine, which will remove the gloss and allow the oil color lettering to 
remain without creeping. Some use a sponge dampened with vinegai, 
which is very good. Turpentine will do, but wood alcohol, advised by 
one man, will surely cut the surface too much. There is on the market 
a painted cloth that requires no sizing, as the letters will not creep or 



THE EXPERT SIGN PAINTER 105 

ass on it. The lettering may be done with a color in oil and having a 
consistency like thick cream, which may be thinned out to a suitable con- 
sistency for lettering. An oil cloth sign intended to stand exposure to 
the weather, the letters to be gilded, may be sized with varnish and 
gold size japan mixed for the letters. To letter on enamelled drill or 
oil cloth mix the color with equal parts of raw oil and japan gold size, 
thinning out with turpentine. 

To make a smalted oil cloth sign get the dull finish cloth, but if you 
cannot, then take the common cloth and remove its gloss with benzine 
or water and whiting. The smalting is the same as for a wooden 
sign board. Take your time on the job; don't rush it, for if you make 
it dry too fast the color will likely scale. Use very fine sand. 

Lettering on Leather and Imitation Leather. — Such as suit 
cases, etc. Ox gall is a good size for removing the gloss, and it may be 
had of the druggist. Add to a little water. Usually India ink is 
used for the lettering, hence the lettering surface must be without gloss. 
There are a great many different kinds of finishes to these leathers. For 
oil finish leather use a color mixed with oil and a little varnish for 
binder, rubbing varnish being best; add also a little japan drier. For a 
better job second coat and allow plenty of time between coats for drying. 
For uncolored or tan leather, used on hand bags, suit cases and trunks, 
use japan color thinned with a mixture of varnish and turpentine, so 
that the color will not spread, or soil the leather. On patent 
or enamelled leather use dry color rubbed up with rubbing varnish and 
thinned out with turpentine. To gild on oil finished leather and un- 
colored tan leather the parts to be gilded must first be shellacked, then 
size with oil size for slow work, or japan gold size for quick work 
or for three to four hours. The same for silver leaf. Enamelled 
leather requires no shellac, but add japan to the size to make it show 
on the leather. For dark leather use light color, and for light leather 
use dark color. These directions apply only to the lettering, not to the 
coating for the whole surface, which would have to be done in a dif- 
ferent manner. 

To Prevent Cracking of Paint on Cloth Banner. — Sometimes 
the paint on a picture on a canvas outdoors sign will crack off before 
the goods is worn out. To prevent this stretch the cloth on the frame, 
draw in the design with charcoal, then go over the drawing with burnt 
umber mixed with quick varnish or japan, this fixing the drawing. Mix 



106 THE EXPERT SIGN PAINTER 

the color with equal parts of boiled oil and turpentine. Make a strong 
suds with white soap and water and wet the goods with it. Apply the 
paint while the goods is still wet and rub it in well, so that one coat 
will do. For the finishing the colors are mixed as described above with 
the addition of a very little japan drier. 

Painting a Silk Banner. — Outline the ground for the picture with 
a quick-drying varnish color, mixing to a stiff paste with equal parts 
of turpentine and oil, and thinning with strong soap suds, applied at 
once and while hot. If the silk is not well filled after becoming dry, 
apply a second coat, using the same paint but made thinner. This 
will make a smooth, flexible ground on which the picture may be 
painted with very thin colors. 

Hanging Banner Across Street. — A large banner or streamer, 3 
by 36 feet, when hung across a street is subject to an immense strain 
owing to heavy winds and storms, and though it is carefully made and 
secured it often tears loose from its fastenings. One means for guarding 
against this accident is the placing of openings in the banner, which 
allows the wind to pass through and so reducing the wind pressure. 
Here are two methods used in hanging such signs. Use canvas or 
duck, muslin not being strong enough. After you have finished the 
lettering get a lot of small harness snaps and rivet them with small 
pieces of leather to the top edge of the banner, about a foot apart. 
At the two top corners of the banner have a triangular piece of leather 
sewed on, and in the leather have holes for tying small ropes to. Then 
take slats 7/8 by 1/2 inch and nail to the back of the sign in a vertical 
direction, using small lath nails and tin washers. Now hang a length 
of No. 9' wire across the street to attach the banner to. Tie a small rope 
to leather so that a man can pull the sign to the middle of the street, 
while another man is feeding out the banner to the wire. Then tie 
the small rope to the building, loosely, to allow for shrinkage in rain. 
A banner sign hung after this manner will remain straight and smooth. 

Another Method. — For a banner 36 by 3 feet use two thicknesses 
of 20-inch drilling, making four lengths of the goods; double-sew the 
goods, with a lap of about 3/4 inch. Hem at top, bottom and ends. 
Through top and bottom hems run a 5/8 manilla line, sewing it to the 
hem so that sign cannot slip on the line. Also sew a rope into the 
hems at each end. The lines at top and bottom should be long enough 
to make the fastenings to the poles that are to carry the sign 



THE EXPERT SIGN PAINTER 107 

so as to take as much of the strain off the banner as possible. In 
hanging the banner draw the top line much tighter than the bottom 
line, thereby allowing the top line to bear the weight of the sign. 
The bottom line being left loose enough to allow the sign to swing 30 
deg., either way, which should allow an ordinary wind to pass safely 
under it. If holes have been cut in the goods to allow the wind to pass 
through, stitch around the holes so that goods will not ravel. It may 
be that a 5/8 inch line will not be strong enough, so that it may be as 
well to use a 3/4 inch line for the top and a 5/8 inch line for the bottom. 

Painting a Transparency Sign. — The muslin used for this sign 
must be fine, white linen being the best for the purpose. The muslin 
must be sized with white gelatine size,, after being placed on a stretcher, 
and after it is dry it is re-stretched on the frame and given another 
coat of size. Some experts put the muslin in the size and wring it 
out, saving time and trouble, then they stretch it. Try your size on a 
piece of the muslin, to see if it is of the right strength ; also try your 
colors before using them. Transparent pigments, such as raw and burnt 
sienna, Prussian blue, any of the red or purple lakes, Vandyke brown, 
and burnt umber for the shadows, are used in this work, thinning with 
turpentine; the colors used are the same as those used in landscape 
painting, which are in oil. Add a little varnish for binder. To make 
the muslin proof against the weather size the goods with a size made 
from one ounce of beeswax dissolved in one quart of turpentine; apply 
while quite warm, using a bristle brush. For white work in general 
the following size will do: Slake a small piece of fresh lime in hot 
water and add skim milk until the lime is quite thin, then strain 
through double cheesecloth ; color as desired. 

The design is first drawn on paper of the size the inscription is to be, 
which is then pinned to the back of the muslin; placed in the light, as 
near a window, the pattern will show through the muslin and may 
be traced therefrom onto the front, using a soft lead pencil. But if the 
light is poor, or you cannot see the design through the muslin, then make 
a pounce pattern and pounce it on. 

For outlining the design use japan color thinned with gold size 
japan or quick varnish, thinning out with turpentine. If the muslin 
is well sized the colors will not run. The outlines should be bold and 
strong. Pounce with powdered charcoal. 

A good effect may be obtained by placing one transparency behind 



108 THE EXPERT SIGN PAINTER 

the other; on the front is painted all that is required to be seen, in the 
clearest relief ; the painting on the other transparency is modified in 
its effect by the painting on the front. 

To Paint an Advertising Drop Curtain. — Use unbleached In- 
dian Head muslin, sewed on the selvedge, with seams running in a 
vertical direction. Stretch the muslin tight on a frame, then size it; 
mix whiting with water to form a thick mass and thin it out with 
hot glue size to proper size consistency. The size must be rather weak. 
Apply it hot, using a broad bristle brush, and fill the texture of the goods. 
When the size is dry sketch in the design with willow charcoal pencil, 
sharpened as you would a chalk crayon, by cutting from the point up- 
wards, using a sharp knife. Willow charcoal brushes off readily. 
Leave plenty of margin at top and bottom, for the hanging batten and 
the roller. A slightly roughish surface on the muslin is better than 
a smooth one, as it lights up more effectively than the latter. At night, 
under the brilliant illumination of a theater, flat colors give the best 
effect, only certain parts of the curtain being finished in gloss. Then, 
some colors look different when seen under artificial light, especially 
' the blues, greens and yellows. As some dry colors are hard to mix 
with water, they should be broken up in alcohol first. Among the 
hardest to break up in water are lampblack and vermilion. And also, 
as all water colors look different after being made- wet, particularly the 
mixed tints such as grays, purple, light blues, pinks, etc., it is better 
to try a color out on a piece of board or cloth, letting it dry, this 
showing you just how the color will look on the finished job. 
For brushes use hog hair bristle fitches, of sizes best suited for the 
work. In doing the border of the curtain an imitation gold picture 
frame effect will set it off fine. The dividing line between the adver- 
tisements may be imitation half-rounds showing miter corners at the 
joints. 

Painting on Bunting. — Stretch the bunting very tight on a 
frame, and sketch in the design with a sharp pointed charcoal pencil. 
Dampen the goods with water, then with a varnish color, black, maroon, 
ultramarine blue or burnt umber, go over the outlines of the sketch 
while the goods is still damp. After this outlining is dry, and not 
until then, again dampen the bunting and with a broad fitch paint in 
each block or space whatever is to remain there. For leaves wash 
over the outline that shows in that form; with emerald green, almost 



THE EXPERT SIGN PAINTER 109 

transparent, shade or deepen the hue of the green with verdigris. Use 
the reds, blues, yellows, etc., in the same manner. For the reds use 
lake or rose madder, as vermilion is too heavy. If the colors upon dry- 
ing seem too faint go over them again in the same manner, always 
having the bunting well dampened, otherwise the colors are liable to 
spread. Emblematic work is usually painted on the white strip of a 
flag, and it will be found nearly as clear on the other side of the bunt- 
ing, requiring simply a slight touching up in a few places. 

Use hog bristle fitches, large and small, according to the nature 
of the work. 

In painting the border of a curtain an imitation of a gold picture 
frame makes a very effective design. 

For lettering on prepared sign cloth the best brushes to use are 
flat ox hair, and red or black sable ; the same on smooth bleached sheet- 
ing. For lettering or painting on unbleached sheeting, drilling or 
heavier goods good hog bristle flat brushes or fitches are best. 

If you have a hurry-up job to do mix dry color in shellac and you 
can deliver the sign in a few minutes, if necessary. 

Wash the brushes out in alcohol when done with them. 

Better stretch the muslin on a frame, rather than on the shop wall; 
in the latter case the color from the lettering may smirch the wall and 
so mar the back of the muslin. 

To make black lettering color place the black in a cup and cover 
it with benzine; then add boiled oil and japan to a working consistency. 
The benzine makes the paint cover well and the paint will not run 
as it does when mixed with turpentine. 

A good glue size may be made with 8 ounces of good white glue 
and soak it 4 hours in a pint of cold water. Dissolve 2 ounces of 
powdered alum in a pint of hot water. Pour the water off the glue 
and add to it the alum solution. A little white soap added in solution 
will make the size more elastic. Thin out with hot water if too thick 
for applying. 

Another good way to mix color for lettering on muslin is by making 
a paste of the color with varnish and thinning out with turpentine on 
muslin, according to whether the muslin is or is not sized. 

For water color work mix dry color with glue size, which must be 
hot. Mix it smooth and apply while hot or quite warm. 

Muslin may be water-proofed by soaking it in a fresh lime wash. 



110 THE EXPERT SIGN PAINTER 

thinned with equal parts of water and skim milk. Stir the lime and dip 
the muslin in, then wring it out and hang it up to dry. For better, 
work size with paraffin or wax, thinned with turpentine or benzine. 

If you happen to get too thick a starch size on the muslin go ahead 
and letter on it, and when done and dry you can wash out the surplus 
starch. 

Color for lettering on oil cloth or enamelled drill should be mixed 
with equal parts of japan gold size and raw oil, thinning out a little 
with turpentine. 

Muslin comes ready sized for lettering, but cheap work may be 
done in the old way, wetting it and lettering with oil color. 

When color creeps on oil cloth dampen the cloth with water, or 
apply a coat of vinegar or benzine. Color will not creep on painted 
oil cloth, only on the varnished kind. 

For cheap muslin work letter with dry color mixed with benzine and 
a little japan drier. 

Muslin may be sized with either paste or glue size. Wax size for 
exterior muslin signs may be made with one ounce of wax to one quart 
of turpentine. Two ounces of wax may also be used. 

To paint muslin signs that will dry in an hour, use only dry colors 
of the best grade; grind the color in japan or furniture varnish and 
make it a rather stiff paste; thin with benzine or gasoline until of the 
proper working consistency. It should work freely under the brush 
and not spread. Such signs will last for 30 days, exposed to the 
weather. If you wish them to stand for two or three months mix 
a little boiled oil with the color. 

The brush for this work is the one-stroke, sign painters' ox hair 
or sable brush. The black sable is generally preferred. 

How to Charge for Muslin, etc., Sign Work. — Prices should 
be such as will meet all expenses incident to the work, including over- 
head, and net a profit of about 50 per cent. Maybe less would be 
sufficient, for much depends upon conditions or the man and his trade. 
The printer has a system that calls for the addition of 50 per cent, to 
the net cost of the stock as "job cost," this covering actual cost of goods 
used and cost also of getting the goods into the shop, etc. Then there 
is the stock on hand, representing money lying idle, for which interest 
ought to be charged ; there is also fire insurance on stock and shop, 



THE EXPERT SIGN PAINTER 111 

etc. All of which may be included under the item of overhead expenses. 
Here is how an expert sign painter puts it: 

To gross cost of materials add one-half of same as the job cost of 
stock, and to this add full cost of time and labor on the job. Add say 
30 per cent, overhead charges, as rent, interest, telephone, water, light, 
etc. Then you have gross cost of the job, then add the 30 — 50 per 
cent, of this, and you have your profit. 

Now as to charging for doing a sign, for the mere work, or per foot, 
etc., this also depends upon man, shop, location, etc. But we can give 
a good rule for charges. You must understand that while the rule of 
charging by the square foot is general, it is not always to be closely 
followed. For example, a sign 12x3 feet contains 36 square feet of 
surface, and should not contain more than a certain amount of lettering 
to justify the price charged per square foot. It is a good safe rule 
to base the price upon one lineal foot of lettering for each square foot 
of surface. For lettering in excess of this amount make an increase 
of 8c per foot; and when the lettering is less deduct 8c per foot. 

You will discover in time that the greatest expense in getting out 
muslin signs is in the "get ready" cost, and in fact this applies to all 
kinds of sign work. After you get down to the work you may be able 
to run off 50 feet per hour, on muslin, whereas, the next 50 feet may not 
require nor take you more than half that time. 

The increase and decrease plan noted above should be governed by 
the prices for the particular size of sign. The larger the sign the lower 
the cost per foot, and the smaller the sign the larger the price per foot. 



SILK AND SATIN BANNER PAINTING 

The Large Silk Banner. — Make stout wooden frame, about two or 
two-and-one-half inches thick; the corners must be made as in frames 
for stretching canvas on, allowing of wedges for taking up the slack. 
But no cross-bar is used. Along each edge of the silk sew a narrow 
band of material, 2 or 2 1/2 inches will be wide enough. This is to 
drive tacks into when attaching the silk to the frame; it must be a 
material much stronger than silk, in order to hold. Lay a clean cloth 
on the floor, and lay frame and silk on that, to keep the silk clean. 



112 THE EXPERT SIGN PAINTER 

Stretch the silk, beginning at the middle of each of the four sides, 
finishing at the corners. Place tacks 1/2 inch apart, draw the silk as 
tight as possible; the frame may then be raised up, against the wall. 
Or the frame may be supported by poles, which must be pulled tight, 
they resting against the ceiling ; this is necessary in order to steady them. 
The poles or props allow the banner to be tilted over a little at the top, 
to protect the fabric from any chance drop of paint. Make the silk 
still tighter, if possible, by means of the wedges at the corners. 

Pouncing the Design. — The design having been prepared by prick- 
ing it, pounce it on to the silk, using whiting with which mix a little fine 
pumicestone powder, so that the marks may easily be brushed away. Be 
careful not to get the pouncing too strong, as it is liable to be fixed 
when you apply the size, and so interfere with the painted work. A 
pounce the size of the banner would be too large to manage, hence it is 
in separate parts. The center has only the outline pricked, as usually 
the picture in the center contains a great variety of objects, and is so 
pictorially painted that pouncing is impossible. So that it needs must 
be sketched in with charcoal, and partly drawn with the brush. 

The Painting. — Only oil paint can be used in banner painting, as 
turpentine thinning takes the shine out of the work, besides making a 
paint too brittle for the purpose. And care must be observed not to 
allow a drop of oil to get on the silk, or paint, the oil making a dark 
spot that cannot be removed. But such an accident not infrequently 
occurs. To remove the oil spot means to either make the place more 
visible, or to cover it up with something. So serious is the matter of 
oil getting on the fabric that in some cases it has destroyed the entire 
banner. It has occurred that when some oil got over the size and onto 
the silk, it spread until it went clear across the banner; it showed a 
dark line, which spoiled the entire work. To guard against this evil 
size the outline of all painted work before the paint is applied, the out- 
line to go only about 1/4 inch beyond where the paint is to go. The 
reason for sizing the outline only where practicable is because size 
causes stiffness in the silk. Use parchment size, applied hot and strong ; 
the first coat may be diluted a little, but the second coat must be as 
strong as it can be worked. The dilution of the first coat is to allow it 
to flow easier. 

The larger space in the center of the banner, to contain the principal 
pictures, after being well sized along the outer edge, is always given 



THE EXPERT SIGN PAINTER 113 

a coat of white lead paint, in oil ; use it thin, and rub it out well. While 
zinc white gives a purer white, it is too brittle, hence white lead is 
used. If the banner will never need to be rolled up then zinc white 
may be used. Tutil, the painter, used to give the center of the banner, 
previous to the application of paint, a coat of rubber solution, to get 
greater elasticity and cause the paint to bear out with a better gloss. 

The Ornament. — The decoration on a banner is usually seen only 
when on the move, so that it should be large in contour and bold and 
simple in the painting. As the light while it is being carried strikes 
through the silk, and not through the painting, the ornament should be of 
the same shape on both sides of the banner, registering exactly. It may, 
however, be differently treated in detail and cutting up. As it is also 
necessary that the ornament should be as brilliant as possible, it is 
usually first silvered. To save labor the filling-up and gold sizing is 
done in one coat. The size is made from fat oil and white lead, nothing 
more, and it is applied on both sides of the frames, and silvered when 
ready, which is in about 12 hours. Then it is at once sized with weak 
parchment water size. When this is dry it is ready to be cut up with 
dilute Vandyke brown. This being dry, the shading is done with 
graduated washes of raw umber. Again dry, the reflected lights are 
washed in raw umber. Other colors may be used, according to the 
taste and skill of the painter, or to agree and harmonize with the whole 
coloring of the banner, usually a strong red or blue. The lettering 
is generally done in plain drop black work. 

Stencil, Pounce and Size for Silk Banner. — The design is first 
drawn in full size on paper. This drawing may then be used to pounce 
with, or for tracing the design on the silk. In the former way you prick 
a series of dots completely around the outlines, and with a white powder, 
preferably French chalk, tied in muslin, pounce the pattern. To trace 
the design rub the back of the paper with chalk or Indian red, according 
to whether the ground is light or dark; place it against the silk and go 
over all the outlines with a sharp pointed hard lead pencil or other 
suitable tool. Before you commence painting fill in all parts that 
are to be covered with paint (1) with thin water size, (2) distemper 
made with size and Chinese white with a little glycerine to prevent 
cracking, or, (3) a coat of flat color made of white lead, varnish and 
turpentine. This preparatory coating should be taken to the extreme 
edge of the design ; it is intended to prevent the oil colors from spreading; 



114 THE EXPERT SIGN PAINTER 

the size minimizes the destructive action of oil paint on the fabric; 
coarser material should also be treated with size preparation as de- 
scribed. 

Size for Banner Work. — A gelatine size may be made as follows: 
In one pint of hot water dissolve two ounces of pure gelatine, strain 
and apply hot. Some size the material all over, but perhaps this is 
not the best way. When the size is dry apply a coat of white paint 
to the sized parts, leaving about 1/16 inch of the sized parts unpainted. 
When the white paint is dry, it will be ready for the lettering, picture 
or gilding. For a size some prefer coach japan thinned with turpentine. 
Egg size, liked by some, and adapted for certain kinds of work, may be 
made by adding equal parts of white of egg and water, mixed well to- 
gether. You can gild on this, or apply oil size. Oil size must be kept 
back from the unsized parts of the silk, as previously directed. To use 
Russian isinglass size, first stretch the material over the frame, then apply 
alum water all over it. WTien this is dry apply Russian isinglass size, a 
piece the size of a silver half-dollar to a quart of water, and boil until 
dissolved. Strain and apply. When dry draw or stencil on the design 
and paint with either water color or oil colors. 

Another Method for Banner Work. — Stretch on a frame and 
pounce in the pattern, cutting in the letters, etc., with shellac or japan, 
which will not spread on the goods. Make the edges perfectly true. 
For gilding use oil size on the shellac ground, being careful to not let 
the size get too near the edges. Put on the gold leaf in the usual 
manner and smooth it out with jewelers' cotton. If the letters are to 
be shaded, or the design, do it first. If to be high-lighted, do it on parts 
opposite to the shading. 

If you wish to have an extended shade on the letters take the color 
used for the foundation for the letters and shade with that, and put in 
the desired colors on that when dry. If no shade is desired, and only 
an edge line, mix the edging color the same way as the foundation color 
was mixed. When shading scrolls, flowers and ornaments use tube 
colors, in oil, thinning with benzine only. Some of the oil should first 
be removed from the color by placing it on blotter paper. In shading 
these things use asphaltum and a little carmine, or Vandyke brown 
mixed with a good quick rubbing varnish, making a thin glazing, and 
going over it two or more times to get deeper relief effects. Use camel 
hair brush. 



THE EXPERT SIGN PAINTER 115 

In preparing panel work on silk cut in the edge of the panel with the 
foundation color, and fill in the panel with color mixed with equal 
parts of oil and turpentine; this should be thin, yet have body enough 
to make a good base for the color the panel is to be. Lettering on 
panels should be done on the finished panel color; to prevent sticking 
of leaf where not wanted size with white of egg thinned down with 
water. 

The banner finally done and dry, say a few days after finishing the 
painting, etc., the trimmings may be sewed on, and it may be fastened 
to the pole; be very careful in rolling it up. To keep the paint from 
sticking it is well to insert a hard surfaced paper with the banner and 
roll up with it. When not in use the banner should be kept in a box. 

Making Campaign Banners. — These banners run from 20 by 30 
feet up to 30 by 40 feet, hence their making requires a large room. But 
the most commonly used size is the smaller one, yet a room at least 
50 feet long is necessary. Then a table, at least 40 feet long by at 
least 42 inches wide, is required, made with matched boards, tightly put 
together, and made level and smooth. The legs for the back of the 
table are to be 40 inches high, while those in front are only 30 inches 
high, this elevating the back and making the work on it easier. On this 
table the strips of canvas are laid, for the lettering. Then frames for 
the portrait and center-piece have to be made, from lumber 11/4 inches 
thick by 5 inches wide; make also a frame 24 by 7 1/2 feet to accommo- 
date a center-piece for the largest banners; this frame may be made 
smaller for smaller work. 

For a banner 24 by 30 feet get muslin 2 1/4 yards wide to form the 
center-piece, which is about 21 feet long by 6 1/2 feet wide. This is 
to hold the pictures of the candidates and the embellishments. Strips for 
the names of the candidates require 18 yards of 1 3/4 yard-wide muslin. 
Use canvas or duck, where muslin is not strong enough. 

Lay the muslin or canvas on the table and make it fast with tacks; 
then wet it well and let it tighten and partly dry out; sketch in your 
design with charcoal, leaving spaces for the portraits, then begin the 
painting. Use oil colors thinned with benzine and add a little driers; 
never use turpentine. This painting is done on the bare cloth in order 
to avoid making the banner heavy. It will require some practise to 
apply this kind of color to such a ground, as the paints dry out quicker 
and different than when used on a painted surface. After finishing 



116 THE EXPERT SIGN PAINTER 

the work outside of the portraits begin them. Get a good portrait of 
each candidate and scale it by one-half inches; say the photo is cabinet 
size or 5 by 7 inches, divided into half-inch squares; that will make 10 
squares across and 14 squares in length. Say the space of the center 
piece is 4 feet wide by 6 1/2 feet high. Divide this space by forming 
ten squares across, while the height will form a little over 15 squares. 
Now, by copying each part of the photo as seen in the unit squares and 
sketching in on the banner space you will easily have a very fair likeness 
of the person whose photo you are transferring. A good plan, where 
you will have several of these banners to make is to draw the photo 
on stout paper and then perforate the lines with a wheel and pounce the 
pattern on to the fabric. This will save considerable time. 

The background of a portrait is important ; gold bronze is a good one ; 
dust it on a quick size. Raw sienna or old gold grounds are also good 
ones. Bright red shaded on one side to a rich maroon, and subdued 
greens, are also effective colors. 

The painting of the centerpiece, etc., requires a common kitchen table 
covered with sheet zinc. An expert has suggested that the dry colors 
used be kept in what he calls a trough, taking 10 pieces of board 6 
inches wide and nailing them together at right angles, the strips being 
ten feet long. Put a square block at each end so that it will stand up 
on the table. Make a series of small compartments, one for each color. 
The colors are green, blue, burnt sienna, Indian red, Venetian red, 
Vandyke brown, yellow, carmine, or deep rich red ; aniline red is better 
than pure English vermilion for light red ; have also a pot each of black 
and white. These will do for the face. 

The strips are made by stretching two pieces of muslin or canvas 
on the table, one piece atop the other, and laying out the top strip in 
ribbon form with scroll returns in effect on the ends. It is important 
to have the form of your lay-out so correct that it will fit when turned 
back to back, which is done when the strips are sewed on the net; and 
the rule applies also to the centerpiece outline and all other strips. They 
should be so formed as to match back to back. This is easily done by 
using patterns for the ends of the strips. 

Those doing a large trade in this line have stencils made on tough 
paper, which they use during the campaign season. One must have 
the full number of stencils to do this, both of the cut-in and stencil kind ; 
these are very useful as end patterns and for ornamental work. With 



THE EXPERT SIGN PAINTER 117 

the stencils you can finish four strips while you are lettering three by 
hand. It takes about as long to make a stencil as to letter two strips 
by hand. Shading also may be done with stencils, and even in the 
portrait work they may be used, though it takes several, about six, while 
the blending, etc., must be done by hand, as also the deep shadows and 
the high lights. The expert who furnishes the information adds, "I 
have, after mixing the necessary colors, finished from eight to ten por- 
traits in a day on painted cloth, while four portraits in a day by hand 
from a pounce pattern is considered enough." 

The painting done the next step is to lay the strips on a clean floor, 
or on your table if it is sufficient. Place the strips back to back, match 
them perfectly and trim the edges so that they will come together nicely 
when sewed on to the net. Sometimes a large empty room, such as one 
may find now and then idle, a business house or a dance floor ; if you 
can arrange for such a place it will greatly simplify the work. You will 
need plenty of room for stretching out the net so that the pieces may be 
sewed on. 

If your color does not cover perfectly go over the weak spots while 
still wet. The cloth lying on top will allow enough of the paint to 
go through to make a fair outline on the under cloth, and when you re- 
move the upper one you can proceed at once with lettering the. under 
one; if it is not wet enough take a wet sponge and tap it on the cloth, 
but do not rub, if the paint is on the cloth from the upper one. 

Do not roll up your center piece or strips, but let them hang up to 
dry, or until ready to send to the customer. There is danger ot 
spontaneous combustion when the painted cloth is rolled up tight, and 
when shipment is made the advice is usually included to unpack as soon 
as received; it is also marked RUSH, for the information of the express 
company. 



PAINTING WALL SIGNS 

This is a distinct branch of the sign painting profession. Color 
is a very important feature in its procedure. Sharp contrasts are sought 
after. A white letter on a black ground, or a black letter on a yellow 
ground, are instances. But there is a reason ; such arrangements en- 
able the lettering to be seen plainly at the greatest possible distance. 



118 THE EXPERT SIGN PAINTER 

But the letters must be of the right size and kind and no crowding. 
Legibility being more sought after than mere quality of lettering. 

Preparation of the surface for wall signs will depend upon circum- 
stances. Is the job a cheap or high-class one? If a brick wall that 
has never been painted, and that is in fairly good condition, is in hand 
it only remains to see what sort of job is wanted before beginning. 
The wall may need to be cleaned or swept down, or it may not. One 
or two coats of paint may be enough for the foundation, or it may re- 
quire more. Sometimes a coat of boiled oil is the primer. But this is 
expensive, as the idea is to give the wall all it will absorb. But it 
makes a fine foundation. The wall artist is a dope paint mixer who 
understands his business. He must if he would come out right on 
much of such work. There are many sorts of paint used, both on wall 
and lettering. Say it is a blank, unpainted wall, then the first coat 
may be made from American yellow ochre thinned with one-third 
benzine and two-thirds raw linseed oil. With driers required. The 
second coat may be made from white lead mixed with equal quantities 
of raw oil and turpentine, with one gill of good japan to the gallon 
of paint. Or boiled oil may be used. Such a paint will give a good 
enough ground for even a pictorial sign. 

If the walls have been painted and are in good enough condition you 
don't need to paint them, but can lay in your lettering and cut in your 
dark ground. A very old brick wall may be coated with a filler of 
yellow ochre, dry, and glue size. When dry apply the oil paint. 

For a large sign on dead walls or rock or cliff the following has been 
well spoken of: Take lime putty, which is the slaked lime minus all 
surplus water, and color it with green vitriol solution, which turns 
the lime a yellowish tint. The stronger the vitriol (copper sulphate) 
solution the more yellow the color. This will form a fairly 
durable coating, and makes a very neat appearance. It makes 
a very good ground for large lettering in black or purple. 

Here is another cheap form of paint: Take 160 lbs. of gilders bolted 
whiting and mix to a paste with water; add 6 galls, of hot soft soap; 
then break up 60 lbs. of white lead in 3 galls, boiled oil, mix to a paste, 
then add 3 galls, more of the oil ; then stir in lead and whiting to- 
gether. This paint will be much finer if run through a paint mill. 

A red ground for a cheap job may be made from glue size. Take 
at the rate of 4 oz. common brown glue to the 4 galls, water. Dissolve 



THE EXPERT SIGN PAINTER 119 

an ounce of pulverized alum in hot water, add it to the glue size, then 
stir in enough Venetian red and yellow ochre to form a brick color. 
Two coats of this will usually be enough to make a good lettering 
ground. 

The ground for a good deal of commercial advertising lettering is 
made with dry lampblack mixed with boiled oil to a working consis- 
tency. If the wall is new, or the weather cold, add a little benzine 
or gasoline, which will cause the paint to flow and spread more 
readily. 

Concerning the lettering it is generally agreed that no other form of 
letter is so well adapted as that of the block, round, square, full or thick, 
and thin. The higher the lettering, or farther away it is from the 
reader, the fatter the letters must be. But the sign should have a gen- 
erous margin, as we observe in ordinary sign lettering. To secure 
a proper spacing of the sign it is best to first prepare a sketch on paper, 
taking the dimensions of the sign space, as well as the lettering, and 
being very careful to get your measurements correct, or you will have 
trouble. Take some wall paper, this being about as good a paper .for 
the purpose as you can get, and tack it down on your board or table, 
and then set out the letters, using a scale of an inch to the foot. When 
you have finished this, mark with small downward strokes under 
and between each letter the number of inches allowed for each letter 
and space, likewise the margins and end spaces. Then when you mark 
the letters and spaces on the wall you will have each inch represented 
by a foot or 12 inches; this is the method used by all the best sign 
letterers. 

To set out the letters, use a strong line and chalk; strike the hori- 
zontal lines first, and use a plumb bob, such as paper hangers use, for 
getting the vertical lines right; attach the line to a nail in the wall. 

One needs to be careful when spacing the letters, especially such as A, 
F, I, J, L, P, T, V, W, X and Y. For instance, take V A W, three of 
the long letters, and note the space occupied by them. Then place the 
letters ILM. Also note the spacing between the letters A, Y, T, A. 
The matter is so clear that with care no painter will err in using any 
of these letters in any similar combination. 

Another good rule to observe is, never to have two lines of letters 
following the same size; also, allow ample space between each letter 
and word. 



120 THE EXPERT SIGN PAINTER 

To measure the space that is to be lettered on a wall, especially when 
it is high, if the wall is of bricks you can count the bricks across the 
wall, also the rows, vertically, estimating four bricks as a thickness of 
13 inches; a brick is 8 1/2 inches long, by 4 1/4 inches wide, and 2 
inches thick. The mortar will vary from 1/4 to 1/2 inch thick. The 
length of a swing stage being known this may help in measuring. 

To "break on" letters the painter means the act of painting the 
letters in the rough, followed by cutting in around them with the 
ground color, usually, though not always, black. This method enables 
the painter to do a large amount of sign work in the shortest possible 
time. 

White letters may be broken in with pure white lead thinned with 
benzine. This paint will dry quickly and allow the painter to cut in 
with the ground color at once, without danger of the two paints work- 
ing together. This is especially a valuable feature where a very large 
area is to be lettered, as it enables the workman to finish the sign where 
his stage is before moving it to another part of the work. Where the 
work is near to the ground it may be done from a ladder, and oil color 
may be used, the cutting in being done the next day. In this case 
benzine is not used, but oil and turpentine with some driers. 

Benzine paint will not, of course, give a durable job, but then 
durability is not always sought, many signs being temporary, or yearly 
contracts are made, where durability is neither expected nor desired, as 
the signs must be changed. Yet such work will last well for about two 
years. 

Flat bristle brushes not less than 4 inches wide are used for breaking 
on letters, and for rilling in the background. Cutting in and making 
borders, outlines, etc., may be done with sash tools, one to three inches 
wide. Usually the brush used in the lettering color, which is always 
light, can finally be used in the background color, after becoming too 
short or stubby for lettering with. 



GILDING LETTERS ON GLASS 

The glass must be perfectly clean, inside and outside the window. 
Make up a paste from whiting and water and apply it to the glass, 
covering it completely ; when this has become dry remove it with a soft 



THE EXPERT SIGN PAINTER 121 

rag, then polish the glass with tissue paper. Some follow this with a 
sponge dampened with alcohol, but it is not necessary. 

As glass does not readily take the chalk crayon used in laying-in the 
letters we must size it with weak gelatin size or with vinegar. But the 
size must be carefully prepared and strained, so that no specks or dirt 
is left on the glass. 

The inscription may then be outlined on the outside of the glass, 
with a chalk crayon ; the horizontal lines for the letters may be made 
by snapping a chalk line, or with a crayon and straight edge. Sharpen 
the crayon to a point. 

The gilding is done on the inside of the glass. First, the parts that 
are to be gilded must be prepared with a size, which is intended to 
hold the gold leaf to the glass. Both the size and its application are 
very important parts of the process of gilding on glass, more especially 
the size. Russian isinglass is considered the best substance for the size, 
though it is seldom used, owing to the trouble in preparing it and its 
cost, which is greater than that of any other available size. Probably 
most sign painters use gelatin capsules, which are cheap, convenient, do 
very well, and may be had from any drug store. Sheet gelatin also may 
be used. The amount of the substance used in making a size for gilding 
on glass is not a fixed quantity; for instance, some painters use a piece 
of Russian isinglass about the size of a silver dime, while others will 
use a piece as large as a postage stamp ; of gelatin capsules, some use one,, 
others two, and still others three ; the quantity of water in these cases is 
usually a half-pint, though some use as much as a pint. The boiling 
time also varies with different workmen, the time ranging from thirty 
seconds to five minutes. Russian isinglass is a very tough substance, 
hence requires considerable time in its reduction by boiling, and even then 
there is usually a portion that does not yield to the boiling, but has to be 
strained out. Gelatin will dissolve almost at once, without boiling, 
though most painters prefer the boiling, as it seems to give a better size. 
The subject will be further dealt with in another place. 

The size is flowed on to the glass with a 2 1/2 inch camel hair brush; 
the leaf is applied at once, for it will not do to allow any of the water- 
size to become dry before the leaf is placed. When the area to be leafed 
is large, size only so much of it as you can leaf at once. Should the size 
become dry or partly dry, it must be removed by applying hot size on 
it, though care must be observed not to have the water too hot, 



122 THE EXPERT SIGN PAINTER 

which might cause the glass to crack. It is best to size only enough 
space to take two or three leaves at a time. Begin at the top of the 
sign, so that the size will not flow on to the work already done, which 
it would if you were to begin at the bottom and work up. Avoid 
making air bubbles when applying the size. 

The leaf used in glass gilding is specially adapted for the purpose, 
and is known as XX leaf ; when buying the leaf state that you wish it 
for glass gilding. To lift the leaf from the book use a gilder's tip, and 
if less than a whole leaf is required turn the paper that is on the leaf, 
and turn it back so as to show only the size piece you wish, then draw 
the nail of your index finger across the gold leaf, following the crease 
of the paper you turned down, and that will cut it loose; be sure your 
finger is perfectly dry, as a damp finger would cause the leaf to bunch 
up. The book containing the gold leaf may be laid on the lid of a 
tobacco box, the stitched end of the book towards you. If the tip 
does not take the leaf up well pass the hairs of the tip across your head 
or face, holding it with your right hand and gently pressing the tip 
down with your left. This gives it a little grease, which causes the thin 
hairs to take and hold the leaf until you transfer it to the glass. Be 
careful that the tip does not touch the wet glass. There is a knack in 
taking up and laying a gold leaf ; first, the tip is laid flat on to the gold, 
then it is quickly taken up and the leaf laid against the wet glass. Just 
before it touches the glass it may want to "fuss" a little, and may seem 
to fluster and fly ; this is a critical point in the amateur's efforts. When 
you have had sufficient experience you will not mind a little thing like 
that; the expert's leafing looks very ragged when first put on. In a 
little time the leaf settles down smooth enough, and the expert does not 
care if the leaf covers beyond the limits of the outlined letters ; in fact he 
wishes it so. Any defects, such as uncovered places, he will attend to 
further on. 

Finish one letter before beginning to gild the next; let the edges of 
the pieces over-lap a little, about 1/8 inch, which will insure a good 
join. If the leaf slides a little, due to excess of size, touch the tip to 
the glass, just under or at bottom of the leaf, which will prevent further 
sliding. 

Having covered all the letter spaces with leaf, allow the work to dry. 
By that time you will see that the wrinkles, which marred the work 



THE EXPERT SIGN PAINTER 123 

when the size was still undry, have disappeared, smoothing out in the 
drying. 

The expert may use whole leaves of gold when working on large jobs, 
but the learner must not attempt it; in fact, the expert will tell you 
that he saves time in using half-leaves instead. If the line of letters 
is not over three inches in height you may gild the line solid; while it 
will use up more leaf, it will pay in the time saved. 

When the gilding has become dry take a wad of absorbent cotton, 
about the size of your fist, compress it a little in the palm of the hand, 
and then, with a circular motion, rub the gilding lightly, to remove all 
loose and surplus gold ; this is called burnishing. The leaf that rubs 
off may be saved and sold ; have a cigar box covered with fine wire 
screen, and rub the cotton wad over the wire, and that will cause the 
fine gold to drop into the box. Where much gilding is done the gold 
thus saved amounts to a tidy sum in the course of a year. Place all 
the discarded cotton wads in the box. This saved gold leaf is called 
sweepings. 

Now we may patch those places that did not get covered with the 
leaf. Take the size that was left from the first operation and add to 
it an equal amount of clear hot water ; apply this freely to the work, be- 
ginning at the bottom line and working up. If size runs on to wet 
gilding it will not stain it ; whereas, running down on to dry gilding 
it would likely do so. Size and gild any place that was not covered 
the first time. The gilding that is opposite the eye, hence plainer as 
to any defects, may be double-gilded, but any other place may be 
patched and look all right. The breaks and holes seen on gilding 
when viewed from the back always occur, but disappear when patched 
and afterwards sized. 

On a large job one may take a section of it at a time, beginning at the 
top and sizing and patching on down, then going to the top again and 
doing another stretch down. In this way we can avoid staining or 
streaking the dry gilding. 

The patching done, let the work again become dry, again burnish with 
the cotton wad, then you are ready for the "backing up." To hold the 
gold it must be protected by a coat of paint. This paint is known 
as the backing-up color. There are various formulas for making it, 
sign painters having their preferences. But this protective coating 



124 THE EXPERT SIGN PAINTER 

must be tough, elastic and opaque. However, the character of the 
coating will usually be determined by the time allowed for getting the 
job out to the customer. For a quick job the backing-up must be 
quick drying, hence it cannot be as durable as one slower in drying. 
The most durable color would be that made from keg lead, thinned 
with equal parts of fat oil, raw oil, and coach finishing varnish. It 
should be made as heavy as can be applied with a lettering pencil. This 
paint will dry slowly, but will become as tough as leather, and will 
preserve the gilding for years. For a quicker drying paint take lamp- 
black ground in japan and thinned with good rubbing varnish. The 
greater the proportion of the japan black the quicker the drying. 
Turpentine should never be used in a backing-up color, because it 
injures the brilliancy of the gold leaf. For further information regard- 
ing backing-up color see the subject in another place. 

Apply the backing-up color with a suitable soft brush. Coat each 
letter carefully to its edge. First, we might outline the letters with 
black, let it dry, then back up. After the paint has had time to be- 
come hard remove any surplus leaf by rubbing across the letters with 
a damp cloth. Then true up the letters with a sharp chisel and 
a ruler. Then another coat of backing color might be given. Having 
outlined the letters with black, about an eighth inch wide, or a fourth 
inch, according to size of the letters, then do the rest of the letter, with a 
black color, which may be made from either Prussian blue or black, or 
both mixed. This outlining the gold letters serves a double purpose: it 
makes the letters look better, and it prevents moisture getting under the 
edges of the gold leaf. When the second backing is dry apply a coat of 
best coach finishing or spar varnish. Let the varnish extend a very little 
over the backing paint. Apply the varnish with a sable pencil or brush. 
In about two years it would be well for the sign to have another coat of 
the varnish. 

Sometimes a job of glass gilding has a background, which may be 
black, blue, red or green, or any color that is opaque. For a dense 
black take Prussian blue one part, and best lampblack two parts, mixing 
with boiled oil; and a little japan gold size for the first coat, but none 
for the second. Black japan also will do. The first coat must be 
perfectly dry before applying the second. If red or green are used, 
stipple the blackground and apply two coats; mix with coach varnish. 



THE EXPERT SIGN PAINTER 125 

Making Size for Glass Gilding. — Sign painters will agree that 
Russian isinglass, so called, makes the best size, although they seldom, 
if ever, use it. The reason for not using it has been given. To make 
the size take a piece about the size of a silver dime and pour over it one- 
half pint of distilled water, preferably, or filtered rain water, and let 
the water boil on the stove until the isinglass is dissolved. This 
usually takes about five minutes, though breaking the substance into 
small bits will greatly facilitate the dissolution, and in any case there 
will be some remaining undissolved isinglass. After the boiling let the 
size become cold, then strain it through old silk, and if then filtered 
through blotter or filter paper you will have a clearer size. 

American isinglass is similar to the Russian in being obtained from a 
fish. But it differs materially in all other respects. It is cheaper, for 
one thing, and requires more to make the size, a piece about two inches 
square being used to the half-pint of water. It dissolves readily in 
hot water. 

Gelatin capsules are the most commonly used in making size, especially 
for hurry work, as they instantly dissolve and are readily obtainable. 
Usually two or three are used to the pint of water. Sometimes gelatin, 
such as we use as a fcod, is used. One painter says he uses gum Arabic, 
and with good results. Gelatin is simply a fine grade of animal glue. 
Isinglass, so called, is derived from fish bladders. 

Russian isinglass is obtained from the swimming bladder of the various 
species of Acipenser, of which family the sturgeon is, perhaps, the best 
known to us. It is very abundant in the Atlantic and adjacent waters. 
A larger size of this fish inhabits the waters of the Caspian and the 
Black seas. The bladder, when dried, is very tough, hence difficult 
to dissolve ; in fact it does not dissolve at all, but simply yields a 
gelatinous substance which we use as a size, while the remainder, much 
enlarged from being boiled, is strained out. Russian isinglass looks 
like dried fish skin, very hard and tough. 

American isingless comes from the air bladder of the sturgeon, but 
is very dissimilar in appearance to the Russian article, appearing more like 
crinkly tissue paper than fish skin. The air bladders are dried and 
cut into strips of short length and tied in small bundles. As stated, 
it readily dissolves in hot water. 

Of gelatin the French is to be preferred. The capsules are of very 



126 THE EXPERT SIGN PAINTER 

pure gelatin, hence preferred by the sign painter, though some work- 
men use any form of gelatin, even to common glue gelatin. Place two 
or three in hot water and the gelatin is melted. 

The word isinglass is said to be derived from icing and glass, while 
some authorities on sign painting say that it is derived from the mineral 
mica, which is commonly called isinglass. Yet there is no resemblance 
between the two. In fact, isinglass refers to gelatin, and not to mica, 
although, as stated, mica is commonly known as isinglass. It would be 
better to designate each substance by its proper name, the one a fish glue, 
the other a mineral, mica. 

Isinglass is sometimes found adulterated with gelatin. A suspected 
lot may be tested by immersion in cold water. If pure it will become 
white and opaque, appearing like cotton threads, which swell equally in 
all directions. If adulterated with gelatin the sample will become trans- 
parent and ribbon-like. 

In the preparation of size it is absolutely necessary to observe perfect 
cleanliness; the porcelain vessel in which the gelatin is dissolved must 
be clean, no grease about it, and also the hands should be clean, as the 
least bit of grease will cause trouble. When the size creeps on the 
glass we know that there is grease present. Washing off with water, 
followed with alcohol, will remove the grease. Then, should this fail 
to remedy the trouble, new size must be made. As such size spoils 
readily in warm weather it is best to prepare it each day, or for each 
time that you may need it; do not try to keep it over night. Some 
add alcohol to the size, and this would of course prevent decomposition 
for some time, though the spirit is not used for that purpose, but because 
it is supposed to make better gilding. 

Then the size must not be used too strong, a point that will manifest 
itself when the gilding is done; if too strong, the gilding will appear 
more or less clouded ; it will not be as brilliant as it should be. In fact, 
the size may safely be used when very weak. Obviously, the less matter 
there is between gold leaf and glass the brighter the gold will show from 
the outside. At the same time the size must not lack sufficient binding 
power, in which case the leaf would, in time, scale away from the 
glass. As weak size gives the best luster, experience must show you 
when you have it at the right condition. The leaf should not rub off 
easily. 

We prefer to apply the size while cold, but sign painters differ on 



THE EXPERT SIGN PAINTER 127 

this point; some prefer it cold, others warm or even hot. You will 
discover in time which is best. 

We have mentioned the matter of gold leaf sliding down on the glass 
when applied to the wet size; we advise stopping this with the tip, but 
some prefer the finger, first run across the face, to grease it a little, then 
run it across the glass, under the sliding leaf. The objection to this 
plan is the grease ; we do not like to have any grease on the glass. The 
sliding of the leaf is due to an excess of water size, and hence it is better 
to wait a moment after applying the size, until the water stops flowing, 
before applying the leaf. 

If you find that the size has been too strong, which will be apparent 
from the dead appearance of the gilding, apply hot size, as hot as pos- 
sible without endangering the glass, which will wash out the excess size 
from beneath the gold. 

Mention has been made of the addition of alcohol to the size; in a 
preparation containing one pint of water and three capsules there is 
added as much as one-third pint of the alcohol. Many who use it 
this way claim that it makes a clearer gilding, besides which it will 
destroy any grease that may be present. While not many sign painters 
appear to use alcohol in the size, yet we have not heard of much criticism 
against it. 

Backing-Up Color. — This is intended to protect the gilding. We 
have described this paint as being opaque, tough and yet elastic. Also 
formulas have been given for making the paint to meet varying con- 
ditions. It may be added here that there are many different formulas, 
each painter having his favorite one. We have given a formula for 
what is generally conceded to be the most durable one. Some painters 
use chrome yellow instead of white lead, medium shade, and either dry 
or ground in japan; they thin it with wearing body varnish. There 
does not seem any reason for preferring the yellow lead chrome to white 
lead, unless it is the color, which approaches nearest to the gold. 

We will give here some formulas that have been given through the 
trade press by experts. For work that may be left over night to dry, 
after the backing up color is on, take ivory drOp black, or Indian 
red, or orange chrome, ground in oil, thin out with good coach rub- 
bing varnish, then add some turpentine until thin enough to work under 
the brush. For work that is to finish up the same day use lampblack in 
japan, thin with varnish and turpentine. 



128 THE EXPERT SIGN PAINTER 

Two-day rubbing varnish colored with lampblack ground in japan. 
This backing dries hard in about seven hours, and cleans up sharp with 
clear edges and no chipping. 

Equal parts of fat oil and coach finishing varnish, mixed with white 
lead, or any desired color, will give a hard, tough backing. This 
painter had a job of gilding on a store window, protected with this 
backing, that lasted 16 years, without chipping. 

Thin up some lampblack, ground in japan, with gold size japan, 
apply it, and when it has the right tack rub on aluminum powder; 
then edge or line the letters neatly, and the back will look much neater 
than where black is used. 

Black japan backing gives a brighter gilding than lead or chrome 
yellow does, says an expert; but one of the biggest sign painting firms 
backs-up entirely with a paint made from dry medium chrome yellow, 
wearing body varnish, and japan drier. 

Another sign painter states that artists' asphaltum in oil and lamp- 
black in japan are two of the best colors for backing. 

Dry ivory black", or dry lampblack, japan, and a little wearing 
body varnish is a formula much used. Also, japan black, gold size 
japan, and about one-third as much spar varnish as gold size japan. 

An expensive but very durable backing may be made with tin foil. 
Grind some dry refined lampblack with a palette knife on a glass or 
stone slab, adding a little spar and rubbing varnish and a few drops 
of boiled oil. This will give a very elastic color. Let the backing 
dry until the next day, then varnish the backs of the letters, on to the 
backing color, with a medium drying varnish ; it may be better to var- 
nish only a few letters at a time. Make the tin foil smooth, using 
very thin foil, and cut it out so that it will extend over the edges of 
the letter about a quarter-inch ; lay paper on the foil and press it 
down smoothly. Then remove the paper and run your finger over 
the foil and around the edges. The letter will show through the foil 
as an impression. After covering all the letters with the foil take a 
steel ruler or other straight edge and a sharp knife or sharp chisel, 
and remove all the foil from around the letter, keeping a little inside 
the lines, so that the foil will not show from the outside. Then back up 
the foil and edge-line the letters with spar varnish and Prussian blue, 
or other desired color. 

Formerly asphaltum was favored for backing up with, but while 



THE EXPERT SIGN PAINTER 129 

it answered well enough for small letters, for large surfaces it was too 
brittle and hence was discarded. 

If the letters are shaded the backing-up color must be of such a 
nature that it will not soften up under the shading color. The best 
backing for a single-gild job is orange chrome yellow mixed with gold 
size. For a double-gild use japan black. For shading letters, designs, 
etc., use equal parts of japan chrome yellow, rubbing varnish and spar 
varnish. 

Apply a coat of black japan to the letters, and when dry remove 
the surplus gilding, make the surface ready, and apply a coat of vegetable 
black mixed with milk. The sign painter who gives this method 
says it is better than a quick black. 

Mix japan black with japan and varnish; back-up with this, and 
let it have time to become hard-dry. Then apply a coat of white lead in 
oil mixed with boiled oil and coach varnish, equal parts. This paint 
will dry slowly, requiring about three weeks or more, and then a coat 
of the best spar varnish may be applied ; let the varnish extend beyond 
the letters about one-fourth of an inch, or less. 

Some sign painters like drop black for the backing-up pigment, but 
it is not as dense a black as lampblack, and therefore does not cover 
as well. Prussian blue added to lampblack makes a dense black, and 
is intensely black too. 

Just before backing-up take a straight edge and lay it at top and 
bottom of the line letters, and with a knife or needle scratch through 
the leaf a trifle from the edges, and omitting the O or other letter that 
must go above or below the horizontal lines. 

After the backing-up is dry, go over the entire surface of the glass 
with a piece of flannel about six inches square and soaked with water, 
but wringing it out as dry as possible, and sprinkling on it a little 
precipitated chalk; rub across the letters with the cloth, which will 
remove all loose gold, etc. Place the cloth square under the hand 
and rub with a circular motion. After having cleaned up in this 
manner, take a damp chamois and go over the glass with it, to 
remove any remaining specks of gold, etc. Repeat if necessary, 
until the glass is perfectly clear. Then true-up the letters with 
ruler and chisel. Then you may apply another coat of black. 
Or varnish, going a little beyond the lettering in order to secure the 
edges. 



130 THE EXPERT SIGN PAINTER 

The best brush for applying the backing paint is the French camel 
hair letterer, and for average work use Nos. 5 and 7. 

Use rubbing varnish in preference to japan gold size; it does not 
gum up the brush as the gold size does; but for quick jobs the gold 
size is better. 

Some sign painters, when they have a hurry-job to do, will rub 
aluminum bronze over the fresh or undry backing, which takes away 
all tackiness; but this endangers the leafing and gives ragged edges. 

The chalk lay-out will show clearly through the gold, and is easily 
followed by the pencil when applying the backing color. 



PAINTING SIGNS ON GLASS AND WINDOWS 

The painting of signs on show windows should be done so as to 
allow of the light passing through without much obstruction. Em- 
bossed gilding is the most attractive form of such work, though mock 
embossing is a close second in point of attraction. The advantage of 
the mock embossing consists in the fact that it reflects the light equally, 
which cannot be said of burnished gilding. Where a window is lettered 
with both burnished gold and matt or mock embossed work, with the 
two kinds mixed, it is difficult for the pedestrian to read the inscription ; 
all the important words at least should be treated alike, so that all will 
appear alike. 

Transparent Work on Glass. — For plate glass or show win- 
dows. Mix your color of equal parts japan and two-day rubbing 
varnish; apply, and rub it out as thin as possible, using a flat bristle 
brush ; get it on even. Just before the color sets hard go over it with 
a pounce pad of raw cotton in a piece of clean cotton muslin, work- 
ing carefully and evenly over the glass. The color must not be applied 
in too heavy a coat as light is to show through it. Take time and 
pains, for a good job. 

For blue take Prussian blue ; for red, crimson lake ; for yellow, Indian 
yellow ; for brown, burnt sienna ; for black, lampblack ; etc. The colors 
may be rubbed into a size made from Venice turpentine two ounces, 
and spirits of turpentine one ounce. Apply with a brush. Fine and 
brilliant colors may be obtained by using aniline dye in white shellac; 
the objection to these colors is that they are very unstable, and hence 



THE EXPERT SIGN PAINTER 131 

not entirely satisfactory. In its stead we may use any of the trans- 
parent mineral or chemical colors thinned out with turpentine, or the 
colors may be mixed as desired to produce other colors. Whether 
this or the shellac and aniline color is used, if you have panes or sheets 
of glass to coat, the color may be poured onto them and allowed to 
run off, this effecting a smoother surface than can be secured with 
the brush. 

Lettering in Black on Inside Window. — A sign in black let- 
ters done on the inside of a window entirely perished in six months. 
The color used was lampblack ground in japan, thinned with turpen- 
tine, and having a little spar varnish as a binder. The color was too 
brittle for glass. The better color is made from coach japan black 
2/3; Prussian blue 1/3; mix with 3/4 boiled oil and varnish 1/4. If 
a second coat of black is applied, mix boiled oil and spar varnish equal 
parts, using no japan drier. 

Water Color Lettering on Windows. — The window glass must 
be made quite clean. The white paint for lettering with may be made 
from equal parts of dry zinc white and white lead. Thin with water, 
and work it fine on a marble or glass with a spatula; make a thick 
paste of it. For a binder use gum arabic or white glue. Thin the 
white paste with the binder liquid so that it will work nicely under 
the brush or pencil. Use the color as heavy as you can, and avoid 
going over a part more than once. Make each letter quickly, avoid- 
ing over-stroking, doing this if necessary when the letters are dry. 

About ten drops of mucilage to a teaspoonful of paste is right. 
Mix with paste, after which water may be added until the mass is about 
like thick cream. Use a camel hair brush. 

If colors are desired use fresco colors, in glass jars, adding a binder 
as for white. Brushes for such work should not be used for any other 
sort of work. 

Mirrors as well as windows may be lettered and ornamented with 
this water color. 

Painting Pictures on Glass. — It is rather difficult to paint a 
picture direct on glass, nor is the transfer method good. The best 
way to do it is to take a piece of paper a little larger than your picture, 
and saturate it with boiled oil; wipe it as dry as possible, give it a coat 
of paint, made from white lead thinned with raw oil one part and 
turpentine two parts. When dry rub it lightly with curled hair, to 



132 



THE EXPERT SIGN PAINTER 



remove specks or nibs. A paper about like ordinary writing paper will 
do. Paint the picture on this prepared paper. Varnish the glass with 
a pale finishing varnish, flowing the varnish and brushing it out smooth 
and level; when the picture is painted place it on the varnish surface 
and gently rub out all air blisters, with a piece of rubber about 2 by 4 
inches, which must have a perfectly straight edge on it; the rubber 
should be about one-fourth inch thick. Begin rubbing at the center 
of the picture, moving towards the edges; don't press too hard on it. 
After the rubbing out let it stand until the varnish on the edge sets 
or dries, then paint the back of the picture or cover it with foil. 




Window Sign in Oil Color Letters. — Dry color, very finely 
ground, mixed with pale copal varnish, a little gold size japan or com- 
mon japan drier, and thinned with turpentine, will give a good cover- 
ing paint, but japan color also gives a dense body and is finely ground. 
Use any good covering pigment, such as black, brown, olive, etc. One 
coat usually does, but two coats make a better job. Drop black needs 
lampblack with it, to give a good body color. The intensest black is 
got by adding Prussian blue to the black. Usually the way is to glaze 
with the blue, and when dry give a coat of black over it. But where 



THE EXPERT SIGN PAINTER 133 

only one coat is to go on better mix blue and black together. A good 
brown may be obtained from two parts black, one part yellow, and 
three parts red. Thin with three parts turpentine, one part oil, and 
a little japan drier. 

In painting on glass it is difficult to get a uniform colored surface 
with some colors; the reds particularly act badly, the oil separating 
from the color. A chemist is said to have found that the addition of 
five per cent, of boric acid to the thinners will result in a smooth, even 
coloring. 



GLASS EMBOSSING, ETCHING, CHIPPING, ETC. 

Glass Embossing.— The first step in this work is to have a suit- 
able room for doing the work in, as the acid fumes must be taken 
care of; ventilation must be good. Next, you must have a suitable 
table, and it must stand level, or very nearly so, and any lack in this 
respect to be corrected by levelling the glass on the table; for this 
purpose have some thin wooden wedges, which are to be placed under 
the edges of the glass wherever needed to make it perfectly level. The 
glass must be washed with sal soda water, then be rinsed in clear run- 
ning water, after which wipe dry with tissue paper or silk. Everything 
used in connection with glass embossing must be clean. 

Glass varies in composition, some being harder than others. For this 
reason the acid must have a strength proportioned to the hardness of 
the glass. To test the strength of the acid try it on a piece of the same 
glass. If this is not possible, then try the acid on the work, making it 
weak, then gradually increasing its strength until it is right. 

What is called lead glass is easily acted upon by the acid used in 
embossing, and it also gives the best matt effect. 

There are several methods in use for this work, and they mostly 
follow along the same lines. Here are a few. 

The inscription is drawn on paper, and is called the lay-out. This 
is placed under the glass; the inscription is then traced on the face of 
the glass with a lettering pencil, using the best asphaltum varnish, 
thinned out properly with a little turpentine and some driers. This 
varnish is known as "the resist," and that is what I shall term it in 
the following account. It resists the action of the acid. It is not safe 



134 THE EXPERT SIGN PAINTER 

to use common asphaltum varnish for this purpose. Brunswick black 
is simply the best asphaltum melted and mixed with a certain pro- 
portion of linseed oil, boiled with litharge until stringy, is added; the 
whole is then boiled until it will set hard when thinned and applied 
to glass. A cheap grade of asphaltum will likely contain some rosin. 

Now fill in around the traced letters with the resist, being care- 
ful not to miss any part, and then let the work stand in a clean place 
for at least 24 hours, though 48 would "be better. And two coats of 
resist will be safer than one coat. Examine the glass carefully for 
any possible pin-holes or uncoated places where you have coated it, and 
if any exist apply some resist to the places. Usually two coats makes 
a perfect covering. It is also very important to have the resist dry 
hard before applying the acid; soft resist and grease are two foes to 
good acid embossing. 

If the letters are not true when you have finished applying the re- 
sist you can true them up with a chisel, but this must be done before 
the varnish becomes too hard or brittle, in which condition it would scale 
or chip and mar the work. If you will take great pains in tracing 
the letters with the pencil you will not need to true them up after- 
wards, and this is best, because in cutting with a chisel one is apt to 
loosen up an edge, which would allow the acid to get under and spoil 
the job. 

When the resist has had sufficient time in which to become hard 
lay the glass again on the table and make level, as before. Be sure that 
the glass is perfectly clean and free from dust or grit. Now make up a 
cement of beeswax, to which is added a little asphaltum varnish, to 
make it more pliable, and place an edging of this around the edges 
of the glass, about one-half inch high, forming what is known as a 
dam ; this dam must be carefully placed in order to prevent any leakage 
of the acid. Now you are ready for the acid. 

This acid is called hydrofluoric, it being prepared from fluor or 
fluorite with sulphuric acid. It eats into glass, porcelain, etc., it being 
therefore necessary to keep in gutta percha, lead, or wax bottles. Its 
fumes are very dangerous and must not be inhaled. There should be 
abundant ventilation where it is used. An open window at the table 
will be useful, or the work might be done in the open air. 

Hydrofluoric acid may be bought in one-pound bottles ready for use, 
or it may be shop-made, as was done years ago, but it is not advised, as 



THE EXPERT SIGN PAINTER 135 

the saving would be small and would not repay the cost of time and 
materials, saying nothing of the danger in mixing the acid and fluorite. 

Before using the acid try it for strength, as previously indicated ; 
dilute with water if it is too strong. If it is too weak it will not eat 
the glass properly; but if too strong it will cause the resist to curl from 
the edges, making a ragged effect. It is well also to test the asphaltum 
for resistance to acid. 

The acid being ready, pour it onto the plate to a depth of about 
one-fourth inch, so that it will cover the glass completely. With a 
gentle rocking motion stir the acid now and then, so that its strength 
may be equalized among the letters, for as it eats the glass it loses its 
strength, hence needs continual stirring to remove the weaker acid 
from contact with the glass, and allowing the upper unaffected acid to 
come in contact. In ten or fifteen minutes tilt the glass so that you 
may see how the acid is eating, and in about twenty minutes the work 
should be finished. The effect of the acid is to make an icy-looking 
surface where it has acted, depth of eating not being necessary, for 
all that is required is that the letters may be thus glared, so that when 
they are leafed the letters will appear matt or dead, under the gold 
leaf. 

The etching being satisfactory, break away a corner of the wax 
dam and pour off the acid into a proper bottle for future use; do not 
put it with the unused or fresh acid. If you should want to use the 
old acid, used once before, then add some fresh acid, to bring it to 
the proper strength. 

Now wash the plate in running water, and examine it for defects; 
if there are any they must be rectified by re-coating and more acid. 
But if the work is perfect, then remove the wax dam and put it away 
for future use. Remove the asphaltum with turpentine or benzine, 
and make the plate clean of the resist material. Then wash off with 
sal soda and water, rinse in clear water, and wipe dry. The glass is 
then ready for gilding. To gild, use a water size, same as for ordinary 
glass gilding. 

Very obviously, acid etching can not be done on windows, but what 
is called mock embossing can be employed there very nicely, and this 
will be described in another place. 

As previously stated, there are various ways in which to do embossed 
sign work on glass. We have just described one way. Another way 



136 THE EXPERT SIGN PAINTER 

is to acid-emboss the entire glass, one side of course, and then gild the 
whole surface, making it matt. Or you may paint the lettering on 
the embossed glass, using black or other color, then gild over the entire 
surface, which will show the letters with a gold backing. Again, the 
letters may be matt-centered with acid, leaving a plain or unembossed 
outline that may be gilded and burnished, the leaf on the middle part 
showing matt. Then the letters can be outlined with a very fine edg- 
ing, this causing the letters to "stand out," as it is called. 

Fire-flashed glass, which is colored on one side only, may be lettered 
on the colored side with resist or asphaltum varnish, while the rest 
of the surface is acid-embossed. The letters, after removal of varnish, 
will show colored, same as the colored side of the glass ; or the operation 
may be reversed, leaving the letters uncolored. 

The Chipped Glass Sign. — The factory method of doing chipped- 
glass work is, briefly, as follows: The design is drawn on manila 
paper, which is then pasted on to the glass. Those parts that are to 
be chipt are cut out with a sharp knife, care being taken not to injure 
the edges of the remaining paper. The cut-out parts are then removed 
from the glass, leaving the glass beneath uncovered. The glass is 
then placed under a wooden hopper, paper side up, when a sand-blast 
is directed upon the glass, to roughen it. It is said that a fall of ten 
feet, with no pressure on the sand, will be sufficient to roughen the 
glass, but I have never verified this. With the hopper or hose it 
requires a pressure of about 90 pounds, so that the mere gravity fall of 
the sand would hardly suffice. However, if the gravity fall of sharp sand 
should be continued long enough no doubt but the face of the glass 
would become matt to some extent. 

After the glass has been sufficiently roughened it is removed and 
coated with glue, paper and all. The glue is usually the best noodle, 
and it is applied liberally, its condition being about that of common 
varnish. The glass is then left in an ordinary warm room until dry. 
Thence it is removed to a special room or kiln, where it is placed in a 
rack, set on its edge. Here the temperature is raised to about 280 deg., 
Fahr. The heat is furnished either by coils of steam pipe, or by rows 
of gas jets, placed near the floor. In about twenty minutes the heat 
is reduced to about 90 deg. 

This heating causes the glue to curl off in flakes of different sizes 



THE EXPERT SIGN PAINTER 137 

and forms, but so tenacious is its grip on the glass that it brings some 
of that away too, thus producing the chipt effect. 

Small sheets of plate glass may be chipt in a stove oven, heated to 
the usual bread baking point, the preparation and treatment being the 
same as with the method employed commercially. 

Expert advice given by a trade publication contains the statement 
that any kind of glue does for this glass-chipping process; this is not 
correct; a very high grade glue is necessary, such as noodle and Irish 
glues. It ought to occur even to an expert that the stronger the glue 
the greater its pulling quality. Another authority says that glues are 
made especially for chipping glass, which is strange if true. 

The preparation of the sign should be done in a warm room, say 
with temperature at above 70 deg. And the glass should be heated 
before the glue is applied. Lay the glass on the table, level or flat. 
Have no drafts of air in the room. 

The glue will not act unless the glass that is to be chipt has been 
roughened on its face, and the coarser this is the better the glue can 
pull it off. 

The glass must first be made perfectly clean, as any trace of grease 
or dirt will prevent the glue from adhering properly. 

In place of paper you can use a compound of glucose and dextrine. 

Both ornaments and letters are cut in the paper mask, and the paper 
remaining after the cutting out of the parts that are to be chipt is 
left on while the glass is under the sand blast, also when it is being 
exposed to the intense heat. After the paper is washed or scraped 
off the letters and ornaments, if any of the latter, are painted as desired. 

Method 2. — Make the lay-out on thin, hard white paper, and draw 
the inscription with a hard lead pencil. Then rub oil on the back of 
the paper, which will make it transparent, showing the inscription from 
beneath. Coat the glass with thin asphaltum varnish, then lay a sheet 
of tinfoil on the asphaltum, and rub it smooth with a soft pad, rub- 
bing until you expel most of the asphaltum from under the tinfoil. 
Now set the glass on the table, foil side up. Then place the paper 
lay-out on the foil, face down, and with a hard, pointed tool trace the 
lay-out on the foil, backwards. Then remove the paper, and go over 
the foil with a sharp pointed needle and cut out the foil from each 
letter. This done, and the asphaltum dry, place a piece of paper over 



138 THE EXPERT SIGN PAINTER 

the letter and press down the edges. Now wash out any asphaltum 
that may remain within the letter spaces with turpentine. This must 
be done carefully, so that the edges of the letters are not injured; if 
any should be raised during the cleaning off, replace them. The glass 
should now be ready to receive the acid. This part of the work has al- 
ready been explained. 

The particular advantage of the tinfoil method is, that it is surer 
than the asphaltum resist, as to the edges. With the asphaltum resist 
you should coat the edges of the letters twice, and do it very carefully, 
or your acid may cut or eat through the edges of the letters and spoil 
them. 

Triple Embossing. — This is sometimes called French embossing, 
and may be considered an improvement of the single embossing method. 
At least it enables us to get a more diversified class of embossing, though 
with considerable more labor and trouble. By the single method the 
glass must be made matt by grinding with emery, after the hydrochloric 
'acid bath. That, is to say, the parts not acted upon by the acid are 
ground matt. By the method only two tones could be produced, while 
by the French method as many as five may be made. As follows: 

1. The dense white matt effect, produced by the white acid. 

2. The same reduced one degree by the application of fluoric acid. 

3. The same reduced two degrees in the same way. 

4. The same reduced three degrees. 

5. Clear plate glass. 

These different tones are not produced in exactly the same order 
as listed, where the clear glass is carried through to the last and so 
may be regarded as first produced. The parts that are to be clear are 
covered by the first application of the asphaltum. The white acid 
is then applied over the whole plate. At the second operation the 
parts that are to be kept to full density are painted over. This gives 
us No. 2. More detail is painted on, fluoric acid is applied again, 
and we have No. 3. Finally No. 4 brings back almost the clear glass, 
but with a satin finish. The gradation of these five steps is very even 
or uniform. With a little care in the managing of the acid any tone 
may be obtained by varying the length of time of the exposure to the 
acid. 



THE EXPERT SIGN PAINTER 139 

It may be said here that perhaps a better way would be to give 
repeated applications of one strength than to increase the strength 
successively, say the white acid all over, then apply it once on a part, 
twice on the next part, thrice on the third part, and so on, this method 
giving the same effect as the other. For some kinds of glass signs this 
way is very desirable; floral or other ornamental work, for instance, 
by which very fine shading may be made. It is not safe to increase 
the strength of the acid beyond certain limits. 

French Embossing Pencil Work. — The best resist for this work 
is four parts best asphaltum varnish and one part best japan gold size. 
Let this stand 24 hours before applying the acid, for the resist must 
be hard. Use the asphaltum as stout as the pencil will work it, and 
avoid leaving any uncoated places. This resist will stand two-hour 
white acid and soaking in water ready for the fluoric acid; it will not 
require touching up if properly applied. 

The white acid used is not an acid at all; in fact, it is distinctly 
alkaline when in proper working condition. It is rather apt to go 
wrong when kept and may require occasional doctoring to keep it right 
for working. On this account it is just as well to make one's own 
and to know exactly what is in it. The process is simple, requiring no 
special apparatus. Common washing soda (1 1/2 lbs.) is added to 
1/2 pint of fluoric acid (full strength) and 1 pint of water. The 
soda must be carefully selected, all the white powdery part being thrown 
away and only clear crystals used. These crystals may be crushed to 
make them dissolve more quickly. It may be necessary to alter the 
proportions a little on account of the quality of the materials or on 
account of variation of weather. The mixture ought to be tested on 
a sample piece of glass before used on a large plate. A dense white 
obscure should be produced in about an hour's time. A very heavy 
sediment forms in the bottle, which should be shaken up and allowed 
to settle again before pouring the mixture on to the glass. A sediment 
is also produced on the glass, which has to be removed by means of a 
rubber squeegee and water after the acid has been poured off. Dif- 
ferent makes of glass will produce very varying effects with the same 
acid. 

Tone No. 2 is obtained by the use of fluoric acid, of usual working 
strength — about 21/2 parts of water to 1 part of acid. Five minutes' 
exposure is required for this. The same acid will produce No. 3 tone 



140 THE EXPERT SIGN PAINTER 

in fifteen minutes, while for No. 4 an exposure of half an hour will be 
required. There is of course no means of testing the exposure during 
its progress, but if these times are carefully observed results should be 
right. 

To the five tones described above is sometimes added the crowning 
interest of brilliant cutting. This is precisely the same as the cutting 
and engraving which is done upon table glass and requires heavy and 
expensive machinery. It is by no means indispensable to a good effect. 
Gilding of lettering or ornament on door plates, etc., is a useful ad- 
junct to triple etching. Mirrors decorated with light borders and 
corners of triple acid work before silvering gain greatly in interest and 
artistic value, the silvering showing up the different tones to great ad- 
vantage. 

Fancy Acid Embossing. — The pebbled ground effect is made by 
covering a sheet of glass with fine shot, as close together as you can make 
them lie. Then pour the acid on carefully, so as not to disarrange the 
shot ; leave on for about twenty minutes, then remove acid and shot and 
wash off glass with clear water. 

A mottled ground may be produced with a sponge dipt in resist 
varnish, then dabbing it on to the glass, making a mottled effect; when 
the acid acts upon the surface it will attack only such places as are not 
protected with the coating, and hence, after washing off with turpentine, 
then with sal soda water, etc., the glass will show an intermixture of 
matt and bright irregular patches, producing a very pretty effect. 
Another way is to take a pan that will be large enough to take in the 
glass, and partly fill it with water, and on the water pour some asphal- 
tum varnish, stirring this around unevenly and brokenly over the sur- 
face of the water. Now lay the glass against the water with its var- 
nish, being careful about it, and when you lift the glass out the most 
of the varnish will be on its face. After the varnish has dried on the 
glass the acid may be applied as in plain embossing. 

Ground glass or frosting, as it is commonly called, is done with white 
acid, which is a mixture of three parts barium sulphate and one part 
fluoride of ammonium, with enough sulphuric acid to dissolve the 
ammonium and bring the mixture to the consistency of rich milk. 
White acid comes in leaden bottles, ready for use. The action of white 
acid is different from hydrofluoric acid, in that it produces a white 
frosted effect, the other producing merely a glare, or icy surface. White 



THE EXPERT SIGN PAINTER 141 

acid makes the best imitation of glass that has been ground with sand 
and water. Other effects may be had with it in combination with 
fluoric acid, making parts smooth and other parts frosted. 

Or, parts may be made matt with fluoride of ammonium slightly 
acidulated with acetic acid. 

Etching Gold on Glass. — One of the most interesting, and yet 
simple jobs, especially to a workman who has pictorial ability, is etch- 
ing gold on glass. This is a very effective way of reproducing em- 
blems, trade-marks, scrolls, etc. Mark out carefully on thin tracing 
paper, fasten this to the face of the glass with gummed stickers, and 
gild entire drawing solidly, making no effort to do so with one gilding; 
that is, without patching. When dry give a couple of hot water baths 
to clear the gold, then remove the paper drawing to gilded side of the 
glass, face to gold, with a piece of carbon paper between. The thin- 
ness of the drawing paper will enable you to transfer the drawing 
directly to the gold with the aid of the carbon paper. Then coat the 
outside or face of the glass with lampblack in distemper. This black 
will enable you to note each scratch or mark made upon the gold. A 
stick of jeweler's peg wood and a short bristle tapestry brush are the 
proper tools. However, a glass etching brush, the bristles of which 
are made of glass, will be found the most effective for the work. Pro- 
ceed by etching in the shadows, leaving the gold for the high-lights. 
When complete, back the entire etching with backing-up black, and 
remove the surplus gold. All gold work on glass should be protected 
on the back by a coat of lead and varnish, and finally by a coat of spar 
varnish, which should be allowed to extend onto the clear glass a trifle. 

Stenciled Embossed Work. — Stenciled embosses are useful for 
transoms and other places where the light must not be obstructed, 
and where it is not desirable to have the plain glass. Glass office doors 
afford a good field for this sort of decorative work. If the glass is al- 
ready in the door, remove it and proceed with it as with new glass. 
The entire glass may be matted, or only a part, that which it is designed 
to letter on. Make your sketch on paper, paraffin the sketch, reverse 
the paper, outline the letters and then fill in around them with asphal- 
tum, then emboss with fluoric acid. Around the glass a border or 
corner ornaments may be placed, and these must be stenciled on, and 
done at the same time as the lettering. Now the letters and ornamenta- 
tion may be ground with emery and water; use a square piece of plate 



142 THE EXPERT SIGN PAINTER 

glass, glued to cork or to wood, and with a circular motion grind the 
glass all over. The more you grind the better the effect. If the let- 
tering is to remain matt, then protect that part with black, and grind 
the rest of the glass. 



NOTES ON ACID AND GLASS EMBOSSING 

Fluoric acid was discovered by Scheele in 1771. 

In 1670 the artist, Henry Schmanhard, accidentally spilled some aqua- 
fortus on his spectacles, and the glass was covered with it. From this 
incident came the art of etching on glass. 

There is no other acid than fluor-spar that will corrode glass of 
every kind, so that the artist's liquid must have been this, and which 
was known to some artists as a secret in 1721. The inventor of the 
acid used it for a very different purpose than that which we now use 
it for. 

Hydrofluoric acid is used for glass etching in three distinct forms, 
namely: The liquid acid, the gaseous acid, and the white acid. 

White acid, also known as French acid, is prepared as follows: Place 
concentrated commercial hydrofluoric acid in a wooden vessel and add 
to it perfectly dry crystals of sodium carbonate, previously powdered, 
until the acid is fully neutralized and a thick paste is formed. Avoid 
the fumes, do the work in plenty of free air. Great care must be taken 
to not allow the mixture to remain thin. No quantities can be pre- 
scribed because of the varying strength of commercial acid. The mix- 
ture need not be perfectly white. The paste is now diluted with about 
five times its volume of water, and a small piece of glass is etched with 
some of the composition. If the dulling of the glass is not uniform 
but weak, so that the transparency of the glass is not sufficiently dimin- 
ished, there is too much water, and some more paste must be added. 
This also affords a means of regenerating partly used compositions. 
It is quite evident that the larger the quantity that can be prepared at 
a time the better. The practise in some acid works of adding acetic or 
hydrochloric acid to the paste seems quite unnecessary. In any case 
the least excess of either will spoil the whole quantity. If white acid 
is found to bite unevenly mix it with a little strong hydrofluoric acid. 

A more rapid etching composition, one that will act in from five to 



THE EXPERT SIGN PAINTER 143 

ten minutes, is prepared by dissolving a soluble fluoride, such ammonium 
fluoride, potassium, or sodium in water, and acidulating the solution 
with hydrochloric or sulphuric acid. This rapid etching, however, 
gives so thin a coat of dull glass that no toning of it is possible. Even 
in a longer time the rapid composition will give no deeper etching. 
The etching soon stops when the rapid composition is used, owing 
possibly to the formation of a protective coat of fluo-silicates, but if 
the surface is washed with water and then re-etched the etching becomes 
deeper and closer, and this washing and application of fresh composition 
can be repeated as often as may be desired. In this case, however, the 
rapidity of the first action becomes valueless. The rapid composition 
can be made to give different coarseness of grain to the dulled surface 
by varying the proportions between its ingredients. The following 
are two other recipes for white acid : ( 1 ) Ammonium fluoride, 30 oz. ; 
distilled water, 15 oz. ; sulphuric acid, 6 oz. ; hydrofluoric acid, 5 oz. ; 
gum, 1 to 2 oz. (2) Dissolve 25 oz. of potassium fluoride in 50 oz. of 
water, and 4 oz. potassium sulphate in 50 oz. of water. Mix the solu- 
tions and add 16 oz. of hydrochloric acid. In twenty- four hours the 
solution is ready for use. 

Resists, or compositions used to protect parts of the glass which are 
not to be etched, are variously made. 

Most compositions for this purpose contain asphalt, but a mere solu- 
tion of asphalt in turpentine gives a very brittle coat, which does not 
adhere to glass with sufficient tenacity. Certain other ingredients are 
necessary to make the resist more effectual. Venice turpentine answers 
the purpose excellently in remedying the defects of the principal ingredi- 
ents, but it introduces a new difficulty, in that the composition flows 
poorly from the brush. 

This is remedied by adding a third ingredient, viz., tallow, but, as 
tallow hinders the drying, no more than is necessary should be used. 
Some rosin is added, partly to neutralize the delay in drying. Many 
persons add a pigment for the same purpose. Whatever ingredients 
are used a perfectly smooth and homogeneous mixture must be made, and 
if mineral pigments are employed the use of a color mill is unavoid- 
able. A very good recipe for a composition is as follows: Dissolve 
1 lb. of the best Syrian asphalt in 4 lbs. of turpentine by gentle heat 
(best on the water bath). Amalgamate thoroughly 1/2 lb. of Venice 
turpentine, 1/2 lb. of rosin, and 5 oz. of tallow. Be careful of fire. 



144 THE EXPERT SIGN PAINTER 

This composition dries in six hours. Some persons use Canada balsam, 
wax, Copaiba balsam, mastic, copal, damar, etc. The last three serve 
the purpose of the rosin, but are dearer and not better. Wax and bal- 
sams make a rather too slow drying composition. There are endless 
recipes for these protective varnishes, and every etcher thinks he has 
got the very best that can be devised. 

A satin finish is given by dipping the whole glass in hydrofluoric acid 
before the resist is removed. 

White acid produces an effect like ground glass. For small pieces, 
where it can be done, it is best to grind the glass with sand and 
water. 

Fluoric acid usually etches smooth, while other fluoric preparations 
etch matt. Fluoride of ammonium slightly acidified with acetic acid 
will give a matt surface. But the composition of the glass will in- 
fluence the result, lead glass being easily acted upon and giving a fine 
matt. 

As stated, the matt is not always the same on all kinds of glass. If 
the surface does not appear proper and even use the following prepara- 
tion instead: One part of fluoride of ammonium to three parts of 
sulphate of barium, also a little sulphuric acid. Mix to the consistency 
of milk, and apply to the face of the glass. 

All acid preparations must be kept in rubber or in lead bottles, or 
other suitable vessels, of which there are several, one being made from 
paper and coated with paraffin. 

If you have an acid bath sufficiently large you can submerge in it a 
whole glass, but in this case the whole glass must be coated with resist, 
face and back. Be careful in pouring off acid that none of it gets on 
the face of the glass, which would ruin the sign. 

Etching fluid, intended for fine work, as with a pen, glass pencil, 
glass rod, or a hard rubber pencil, may be made from this formula: 

Sodium fluoride, 9 drams; potassium sulphate, 108 grains; water, 16 
fluid ounces. Make a solution and label No. 1. Zinc chloride, 216 
grains; concentrated hydrochloric acid, 10 fluid drams; water, 16 fluid 
ounces. Label solution No. 2. Method : — Mix equal quantities of the 
solutions in a gutta percha or leather vessel, or in a glass vessel, the 
interior of which has been covered with a layer of paraffin, or in a 
hollow in a piece of paraffin wax. Of course, any less quantity may 
be prepared in the given proportion. 



THE EXPERT SIGN PAINTER 145 



IMITATION GLASS FROSTING 

Windows are usually frosted to render the glass opaque, cutting 
off vision from both sides. One of the simplest ways is to dab fresh 
putty over the glass, which leaves a thin film of oil and whiting that 
dries hard and is durable. Wax mixed thin with turpentine and a 
little driers and a drop of varnish is useful ; it may be colored with 
any transparent pigment or aniline color. It should be dabbed on with 
a pad of raw cotton. Sugar of lead, mixed with equal parts of damar 
varnish and turpentine and made quite thin may be stippled on. Or 
mix one part white lead, dry, with three-quarters parts varnish and 
one-quarter part turpentine, with a little sugar of lead for a drier. 
Apply in a thin coat, with a broad bristle brush, and spread it evenly. 
Such frostings may be removed with ammonia or other alkali. Mix 
whiting with pale japan one part, and raw linseed oil two parts, thinning 
out with turpentine and applying with a bristle brush ; enclose some 
cotton wool in a rag and rub or dab the coating. 

The above formulas may be used on window lights in situ, but the 
more liquid formulas require that the sash or lights be taken out and 
laid down. Thus Epsom salts with gum arabic water. Make a 
saturated solution of the salts and add gum water, as a binder; lay 
the glass on a level table, and apply the liquid with a soft, broad 
brush. The slower the drying the finer the crystallization, hence the 
room ought not to be too warm. After the coating has stood for some 
time apply a sheet of blotter paper to it, to absorb excess of moisture; 
do this very carefully. This will hasten the process. When it has 
become perfectly dry apply a thin coat of damar varnish, colored if 
you wish, with aniline dye. 

For a more permanent frosting use sugar of lead, mixed with raw 
oil and a little damar varnish. Or zinc sulphate three parts, magnesia 
sulphate three parts, dextrine two parts, and water twenty parts. 

For imitation ground glass first apply a coat of damar varnish, and 
sprinkle over it some fine pumicestone; this will permit light to pass 
through the glass. Or melt one part beeswax in ten parts turpentine, 
and one part each of driers and pale varnish. Coat the glass on the 
outside, and just before it is dry dab it with a wad of raw cotton. 
Coloring may be used if desired. 



146 THE EXPERT SIGN PAINTER 

Thin out sugar of lead with turpentine and thicken with gilders 
whiting; apply with a brush and stipple evenly. 

Ornamental Mock Frosting. — Mix sweet milk with best bolted 
whiting, making a mixture like oil paint in consistency; strain it. Make 
the glass clean, and lay the coating on even and thin, so that it will 
not run. Stipple with a large stencil brush. When it is dry it should 
appear even and solid. Then it is ready for the ornamental work. 
Plain lines may be run with a boxwood liner and a straight-edge. Box- 
wood cuts a cleaner line than any other wood. Shape a piece of this 
wood to form a chisel, making a sharp, broad point. Make it the width 
that you wish the lines to be. Dampen a sponge a little with the 
water paint, and dab the color on, when you apply the paint. Stencil- 
ling may be done by rubbing out the color or paint with a stencil brush, 
using for this purpose a small brush, slightly dampening it. After hav- 
ing run the lines and brushed out the design through the stencil plate, 
give it a coat of pale, hard-drying varnish. 

Stencilled Embossed Work. — This is useful for transoms and 
other glass where it is desirable to obscure the glass and yet allow 
light to pass through. Glass office doors are usually done this way. 
But the glass must be removed from its place, door or transom, and 
then be matted or embossed. Or only a part of the glass may be ob- 
scured, leaving the rest to receive the lettering and fancy work. 

For a permanent work see same title under another heading. 

Imitation Embossed Glass Sign. — Lay a sheet of heavy tinfoi] 
on the glass that you are to letter; place a piece of paper on the tinfoil 
and press it out smoothly. Then with a stencil containing the let- 
ters pounce same onto the foil. Cut out the letters and remove them. 
Coat the exposed letter parts with damar varnish or Venice turpentine ; 
set it away to set. Next stipple with a stiff bristle brush, to imitate 
the embossing. Set it away to dry. When it is dry strip off the foil 
and gild the letters twice, but don't try to burnish them. Back up 
and leave a plain edge of gilding around the letters, outside of the 
stippling. When the backing is dry clean off surplus leaf; shade let- 
ters if you wish. 

Mock Embossing. — While sign painters usually have their own 
particular method of doing this work, yet in general the procedure 
is essentially the same; all methods are based on the fact that when 
varnish is applied to glass and gilded on the varnish kills the luster 



THE EXPERT SIGN PAINTER 147 

of the gold, producing what is called a matt effect. That is the imita- 
tion of the matt produced on glass by acids or grinding. 

For this imitation matt work a pale varnish is considered the best. 

Clear spaces, ornaments, letters, etc., may be made on ordinary 
ground glass by using varnish. Flowers, landscapes, or figured subjects, 
may be produced by working all the colors in varnish. No white lead 
is used, for all tints of colors may be obtained by mixing tube colors 
with varnish, and painting in a transparent manner. 



ENAMELLED OR PORCELAIN, GLASS, ETC., LETTERS 

To set out porcelain letters on a window draw the lines with a 
chalked line, and curved lines with a piece of prepared chalk and a 
string. This latter is done by holding the one end of the line with the 
left hand, at the proper point for making the curve or half-circle, 
with the other end and the chalk in the right hand, or vice versa, 
as you prefer. Unless the glass is clean it will not take the chalk well. 
Some first size the glass with vinegar. But if not expert you had 
better use the amateur's method, which consists in laying out the let- 
ters on paper and drawing lines around them, then fastening the paper 
to the glass on the inside and placing the porcelain letters to the 
glass outside against the paper pattern. You will find this a very easy 
way. It is easier to space the letters on the paper than on the glass. 
Don't crowd the letters, and be sure to space them nicely. 

The glass must be perfectly clean if the cement is to stick. The 
cement may be bought, or you can yourself prepare it. Take white 
lead in oil two parts, dry white lead three parts, and mix with copal 
varnish to a paste, about like putty; work it on a stone slab or plate 
of glass until quite smooth; do not use it too thin. 

If the letters come loose before they should the fault may be due 
to water having got access to their backs. When cementing them on 
use plenty of the cement, and the excess may easily be removed. When 
a letter becomes quite loose it must be taken off and the glass cleaned 
under it arid the cement be again applied. If the letter has its enamel 
broken off a little it may be repaired by a putty made thus: Mix 
together 5 parts each of copal and damar varnish, 4 parts turpentine, 
and enough alcohol to form a thick liquid. Let it stand two or three 



148 THE EXPERT SIGN PAINTER 

weeks, then add 6 parts of dry zinc white, and work the whole to a 
smooth putty. When wanted for use heat it, for it must be used 
warm, otherwise it cannot be smoothed out. When it has become 
cold on the letter polish it with soft rag. 

To remove these letters from glass apply alcohol around the edges, 
to soften the cement, then with the point of a pocket knife very care- 
fully raise the edges until the letter is loose. Or, heat a sad iron 
and hold it near the letter. The first method will raise the edges of 
the copper letters, though they may be hammered down again ; but with 
the heat method this will not occur. 

To attach brilliant letters they are placed on the inside of the glass, 
which exposes the gilding of their insides to view on the outside of the 
window. Two coats of a thin cement are used, and the cement is 
colored to harmonize with the gold. 

To cement brass to glass a very elastic cement is used. Melt to- 
gether 5 ounces of rosin, and 1 ounce of beeswax with gentle heat, then 
stir slowly in 1 ounce of dry Venetian red; remove from the fire, and 
when the mass is cool it is ready to use. 

Glass Letters. — Glass letters are made for use in windows, and 
for making signs on plate glass of various sizes. House number glass 
plates also are made. Double thick glass, with bevelled edges, is used, 
and holes are provided for attaching with. 

There are various forms of letters, numerals, etc. Such letters are 
made in opal, gold and silver. The convex letters have the gold, etc., 
burned in the glass, with a mirror effect. The letters are cemented 
to any sort of a surface. Unlike the brilliant letters, these go on the 
outside, on the glass, etc. 



CLEANING AND RENOVATING OLD SIGNS 

Raised Gold Letters, Smalted Ground. — Brush the gilt letters 
with a soft brush to remove dust, then wash with pure white soap-suds, 
using a soft brush, then rinse off with clear water. Be careful not to 
scratch the gilding. A wad of raw cotton is useful. Then, if the 
gilding does not look bright, wash again, this time with water made 
acid with muriatic acid, which is to cut any remaining grease or grime 
and restore the original color of the gold. Then rinse off with clear 



THE EXPERT SIGN PAINTER 149 

water. Some, after this process, rub the gilding with a mixture of equal 
parts of glycerine and water, using a wad of raw cotton and rubbing 
the preparation into the gilding. Acid removes dirt or grime, etc., 
but does not give the original luster of the gold, and the glycerine prep- 
aration is to do this. After cleansing the gold restore the smalted 
ground by applying a thin coat of flat black color. It may be necessary 
in some cases to remove the old smalts and re-sand it. 

Another plan is as follows: To two quarts of coal oil add one-half 
ounce of bichromate of potash and shake together well ; brush this over 
the old smalted ground. The finest black job of smalting will in course 
of time become a dead gray. Such a case may be treated with a black 
paint made from turpentine one gallon, dry lampblack of best grade 
one-half ounce, and dry cobalt blue a teaspoonful, or about an ounce. 
For maroon colored smalted ground, add a little cobalt blue to Indian 
red and thin with turpentine, a little japan drier in all these cases. 
For green smalts ground use dry chrome green, and for red, two coats of 
flat red. 

First of all dust off the job. Sometimes washing with soapy water, 
then rinsing with clear water, will make a great improvement, though 
a coat of thin color also is generally necessary. In a few cases 
if the job is not very bad just the clear turpentine will be enough to 
restore freshness. 

Dark spots on gilded letters are usually impossible of removal, as 
the trouble is due to inferior leaf or poor workmanship. If the 
gold leaf contains copper it will tarnish. Re-leafing is then neces- 
sary. 

If the gold leaf is pure then the tarnish may be removed by washing 
off with acid water, done very carefully; use muriatic acid, added to 
water to make a sour liquid. Some prefer alcohol, used by means of a 
sponge, while others claim turpentine is best. But the most generally 
employed cleanser is acid water. If you try alcohol or turpentine, then 
don't wash it off afterwards, as you would with acid. 

Cyanide of potassium will often remove obstinate stains from gold- 
leafed objects — one-half ounce of cyanide to the pint of soft water. 
Let it dry on the gilding, followed by brushing off with prepared chalk. 
What is described as a harmless cleanser is made as follows: Slake 
an ounce of fresh quick lime in a little hot water, then slowly add 20 
fluid ounces of boiling water, to form milk of lime. Then dissolve in 



150 THE EXPERT SIGN PAINTER 

another vessel 12 ounces of pearlash in 30 fluid ounces of boiling water 
and mix the two solutions, covering up the vessel for about one hour, 
occasionally shaking it ; when cool decant the clear liquid and apply it to 
the gold leaf with soft sponge or raw cotton until the metal is clean, 
then wash off with clear water. Another detergent may be made by 
dissolving 7 ounces of bicarbonate of soda, 7 ounces of chloride of lime, 
and 2 ounces of table salt in 3 half-pints of soft water, and keeping it 
in a stoppered bottle until wanted for use. Use same as indicated for 
the other formula. 

Cleaning Brass Sign. — There are pastes on the market for cleaning 
brass sign plates, these usually containing an acid. Oxalic acid and 
whiting make a very good paste. The ingredients are dampened with 
water and applied, to remain until dry, after which the powder is 
rubbed off with a cloth and the plate polished with sweet oil and 
Tripoli powder. This will keep the metal from tarnishing for some 
time. There are some metal polishes that brighten the metal, but the 
luster too quickly passes away. Soft soap and pulverized rottenstone 
make a good cleanser. 

Removing Old Smalts. — If the sand is old and dry it can be re- 
moved with a plane bit or other scraper. If not old the blow torch 
will soften the paint, after which it can easily be scraped off. Or pour 
some alcohol on it and set fire to the liquid ; or use benzol or other paint 
remover. Alkali remover not advised. 

Cleaning Tarnished Zinc Sign. — Rub the plate with a mixture 
of 1 part of muriatic acid and 12 parts of water, using a soft rag. 
After which wash off with clear water and rub dry. 



EQUIPMENT FOR SIGN SHOP AND OFFICE 

The equipment for properly conducting the work and business of a 
sign painting concern varies, of course, with the extent of the business 
done. The big shop needs swings, block and tackle, ladders, etc., for 
hanging large signs. The small shop will usually do only small jobs, 
to be called for or maybe be delivered by a boy. But both large and 
small shops need in common a number of tools and brushes, making 
quite a large list. Easels of different sizes, tables, T-square, gasoline 
torch, paint scrapers, putty knives, steel square and straight edge, 



THE EXPERT SIGN PAINTER 151 

large and small dividers or compasses, two-foot and other rules, saw, 
hammer, nails, screws, etc. 

Then the materials, such as white lead, colors, oil, turpentine, japan, 
oil and gold size, tube colors, dry colors, smalts, whiting, chalk crayons 
and charcoal sticks, etc. 

Of brushes there are camel hair lettering pencils of different sizes, 
for oil colors. Black sable lettering pencils, in quills, of all sizes, 
though those most commonly used are Nos. 8, 10 and 12, the latter a 
special size, used mainly for cutting-in on fascia boards. Red sable 
lettering brushes in quills, different sizes, used in general lettering, 
and liked by experts because they carry heavy color well, their spring 
not being affected thereby. It is a very desirable pencil. Flat camel 
hair lacquering brush, assorted sizes, for large lettering on oil cloth, 
muslin, and smooth board surface. Flat red sable lettering brushes 
for oil cloth and fairly smooth surface, also muslin. A good brush 
for free-hand and single stroke work, and useful also in water color 
lettering. Artists' flat bristle chiseled bristle brushes, used principally 
for pictorial work, etc., on bulletin and wall work. Flat bristle chiseled 
varnish brush, sizes 11/2 to 2 inches. Used in painting small boards 
and board work in general, and for cutting in on wall and bulletin 
work. Flat bear's hair, or fitch hair, brush, useful for large lettering 
on brick wall work, large muslin jobs, canvas and bulletin work of 
large dimensions. Assorted sizes. 

There are other kinds of pencils and brushes, according to the dif- 
ferent catalogs, but those enumerated are sufficient and will be found 
acceptable to most experts. There are in addition house painters' 
brushes, varnish brushes, etc. 

The sign shop will need at least two horses or trestles, about 28 
inches high. At least one easel for small work, with a double easel for 
large work. The latter are made from 2 by 4 scantling, the easels are 
7 feet long and 5 feet high. In the uprights, holes are placed 5 inches 
apart, for pegs, on which the sign board is to rest. For very large work 
stilts are required. These are pieces of scantling 2 by 4, in length a 
little more than the height of the shop ceiling; along the ceiling is 
fastened a strip of wood notched four inches at intervals of 6 feet or so ; 
in these notches the stilts are placed. Stilts may also be stood against 
the shop wall, to hold the sign board. For this purpose you may have 
lengths of from 6 to 12 feet, to accommodate the various sized signs. 



152 THE EXPERT SIGN PAINTER 

Thus the shortest stilt will hold a sign ; the next in size will hold an- 
other; and so on, until you have several signs thus securely placed out 
of the way. They are very handy. 

A table with a top covered with zinc will be found a convenience for 
mixing and grinding color under the palette knife. This table may 
be 40 inches high and the same across its top. The feet of the table 
should have ball bearing casters, so that it can easily be moved about 
the shop. Have also some shelves under its top. A few small stands 
will be found handy, for use when working at an easel. If you do 
show-card work you will need a bench for that. This should be a table 
with top 3 feet wide by 5 feet long, hinged to the wall or sill of a 
window. It can have a leg support, notched strip on the floor, and the 
leg placed at any desired angle in one of the notches. 

For muslin signs you will require a muslin board, 6 1/2 feet by 25 
feet long, this to be placed in ways slanting from the ceiling outward, 
so that paint will not drop from your brush on to the muslin below. 
Fasten the muslin to the board with steel clips: This board works up and 
down in the ways. An upright reel at the left of the muslin board 
will hold the roll of muslin. 

A handy rack for holding the stock of raised letters may be made 
by making an upright frame 6 by 10 feet, from 2 by 6 inch plank, with 
cross pieces at the bottom to form the base. For holding the letters 
string copper wires across, instead of wooden shelves, two wires forming 
a shelf, placed 5 inches apart, the shelves 4 inches apart. 

A smalt cloth is useful. It may be of such dimensions as your shop 
will accommodate, and can be made from 4-ounce duck ; about 40 inches 
wide, and any desired length up to 60 feet. This cloth catches the 
sand or smalts when you are doing work of this kind. 

A sign painters' straight-edge may be made by dressing a lath true and 
thin. Make a hand-hold from a piece of board 1/2 or 3/8 inch thick 
and about 6 inches long. Get the exact center of the lath, also of the 
hand-hold, and drive a nail so that it will enter at the center of both, 
fastening the hand-hold to the lath; then bend the lath to form a slight 
bow, then drive two nails in the hand-hold one at each end ; the slight 
bow in the straight-edge is flattened out when you hold the latter on to 
the work, rendering it less likely tc slip under the hand when drawing a 
pencil or crayon along it than it would be if perfectly flat; the hand- 
hold is convenient for holding the straight-edge down. 



THE EXPERT SIGN PAINTER 153 

A handy chalk line may be made for muslin or banner work 
by attaching a fish hook, its barb filed off, to an end of the line, and 
which can be inserted in the work at one end, enabling one man to run 
the line; in most work of the kind it requires two men to manage 
the chalked line. In some cases the brad awl is best. 

Care of Tools and Brushes. — Brushes are very costly, and it would 
be wrong not to take the best possible care of them. This not only 
saves you money, but it gives you better tools to work with, with which 
to do better work. These brushes are made for use in water or oil 
color, but not for both. Hence it is wrong to misuse them in this re- 
spect. When done using a water color brush or pencil wash it out in 
clear water until clean. Red sable riggers and flats are used in water 
color work. Lettering brushes and pencils used in oil or japan color 
should be washed with benzine or turpentine and greased with some 
non-drying oil; smooth the hair out evenly and place it flat in a tray. 
Bristle fitches and flat bristle brushes wrap separately in paper, using 
a ribbon of paper and wrapping tightly towards the ends of the bristles, 
bending the paper a little over the ends of the bristles, to preserve the 
shape; then stand it in a cup of turpentine; thus it will be prevented 
from resting on the tips of the bristles. It is necessary to keep the point 
of the brush in shape. Paint brushes should be wrapped in the same 
way and be placed in a trough in turpentine, and not water. 

Dirty pencils may be made clean by washing out in chloroform and 
rinsing out in turpentine. Then grease and lay away. Dirty bristle 
brushes may be cleaned with fusel oil or paint remover; soak therein 
until the old paint softens, then scrape it off and rinse brush in turpentine. 
If your lettering pencil should fall on the dirty floor clean it by holding 
it over a cup and pouring benzine over it. A bent pencil may be 
straightened by letting it soak in turpentine until the hair softens, 
then run it under the finger on a warm iron. This will remove the 
kink, then it may be greased and laid away. 

Keep shop and tools clean always. Have a place for everything, and 
everything in its place. 

Office Stationery. — It is always in order, in almost any line of 
business, to use good, refined, attractive stationery for business cor- 
respondence, etc., well printed and on best linen paper. Avoid all 
commonplaces, such as "Do you believe in signs? We make 'em." Cut 
out all but bare requirements of a letter head, envelope, bill head, 



154 THE EXPERT SIGN PAINTER 

statement, etc. We have seen many specimens of shop stationery, 
but the worst seems to be that containing a photo of the sign man's face, 
or the back of his head. Get samples of stationery from the printer 
and select such as appears to be refined and good from a good business 
standpoint. 

A typewriter will prove a very useful and paying tool in the office; 
it is easily operated and does better work than most penmen are capable 
of. Besides which it looks more like up-to-date business. We have seen 
in some big sign shops also an adding machine, but this can hardly be 
called necessary in most shops. 

It would also be well to secure from various sign painting shops 
samples of the forms they use. Here is one such form, useful in any 
sign shop : 

Specifications for Sign 

Philadelphia, Pa., 19 



Name : 

Address 

Sign to read 

Double or single face 

Length of sign Width. 

Vertical or horizontal 

Letters Size Color. 

Background preferred 

Material 

To be delivered 

Remarks 



Signed 

Please outline sketch on opposite side. 



A Sign Writer's Kit. — A kit is a travelling sign shop; the kit 
may be one of the ready made affairs, and which are very complete, or 
you can have one made. One measuring 12 inches in length, 10 inches 
in height, and 6 inches in depth will be large enough to carry enough 



THE EXPERT SIGN PAINTER 155 

for average ordinary use. Here are the contents of such a kit: Six 
cans with a capacity each of one gill, these to contain turpentine, japan, 
rubbing varnish, boiled oil, japan gold size, and alcohol. Such cans 
are about 4 inches high, 2 inches wide, and 3/4 inches the remaining 
way. They have screw tops, and take up little space. Then there is a 
brush case containing 15 assorted lettering pencils; a mahl or rest stick, 
with joints, so that it occupies little space ; an aluminum palette ; a tube 
each of lampblack in oil, drop black in japan, chrome yellow, medium 
in japan, white lead in oil, Prussian blue in both oil and japan, respec- 
tively, chalk crayons, say one-half dozen, a chalk line, charcoal, an 
alcohol lamp, a vessel for gilding size and a brush, a small quantity of 
absorbent cotton, pounce bags, for white and colored, two-foot rule, a 
small bottle of damar varnish, one of sperm oil, one of slow oil size, 
one of asphaltum, some gilding tips, six-inch dividers, sheet gelatine or 
gelatine capsules, and finally a tube each of these oil colors: English 
vermilion, deep shade, mauve, Vandyke brown, chrome green, medium, 
burnt sienna, burnt umber. 

A good level-straight-edge is required. 



ALUMINUM, SILVER AND NICKEL LEAF AND 
BRONZE POWDERS 

Aluminum leaf and blue make a very attractive combination. It is 
handsome also with green of certain shades, but with these it should 
always be shaded with black. On black ground this leaf is cold and 
tame, but on a brown ground it is more effective. When used on a 
bright straw, orange or cream ground aluminum leaf is nearly as attrac- 
tive as on blue ; its effect being nearly as good as gold leaf. Gold and 
aluminum leaf are often used together on ornamental work, and the 
combination is good. In connection with dark shading it does well on 
light tones of green, blue or stone color. It is too stiff for glass work, in 
this respect being inferior to silver leaf. Aluminum leaf does not tarnish 
as silver does, and it is less expensive. 

Aluminum does not agree well with every color, simply because it 
does not possess color, as gold does. Aluminum is white and cold. 
But it has the quality of borrowing color, as instanced when it is 
surrounded with orange color, when it fairly glows. An aluminum 



156 THE EXPERT SIGN PAINTER 

letter looks well when shaded with a warm sienna tint ; fine-line shading 
is better than heavy-line. A plain double-shade looks well too. This is 
two shades of the same color running parallel. When this is done, place 
the lighter shade on the outside. The double shade may be made by 
running the light color up to the letter, and, when dry, paint in the 
darker shade to cover half of the first or light shade. 

The effect of varnish on aluminum leaf is to make it appear as white 
paint; hence it is not desirable. The ground should be made flat for 
aluminum letters. If the ground is to be varnished first lay the letters 
and then varnish around them. 

Silver Leaf. — This leaf is very little employed in lettering, since 
aluminum leaf does so well in its stead. It it too heavy to handle well, 
for one thing, being particularly difficult to lay on glass; it shows the 
joins very much. It is never brilliant. Compared with gold, it looks 
cheap, much more so than aluminum. 

Laying silver leaf is done about the same as gold leaf, but as it is so 
much heavier than that leaf the size must be accordingly stouter, to 
hold it fast. For glass work the size is made from isinglass, and made 
as heavy. An English expert tells us that the size does not need to be 
so heavy, that a weak size will do very well. But any heavy leaf 
obviously needs a heavy size, and experience confirms this view. After 
the leaf has been applied and is dry it is to be rubbed with cotton wool, 
rhe same as gold leaf; then another leaf is applied, and this also is 
rubbed with cotton wool. Touch up faulty places, and back up with 
lead color and varnish, using hard-drying varnish. Never press the 
leaf with the thumb, as that will produce a spot. Use the ball of the 
hand, and press gently but firmly, and where two edges come together 
and lap pound lightly with the ball of the hand. This method is also 
used in the laying of aluminum leaf. 

As it is impossible to see the outlines through either silver or 
aluminum leaf, when double-leafed, a pounce must be used. Both sil- 
ver and aluminum leaf leave ragged edges on the letters ; they will have 
to be trued-up with a steel blade, one that is bevelled on one side or edge ; 
this steel edge is laid on the edge of a letter and the ragged leaf is rubbed 
away, even with the edge of the steel. This gives a perfectly true edge. 
To remove any other surplus leaf apply an acid water, made by taking 
a teaspoonful of hydrochloric acid and diluting it with a gill of soft 
water ; wet a small bit of rag with this and rub the leaf away. Do not 



THE EXPERT SIGN PAINTER 157 

get the acid-water too strong, for it will cause the edges of the leafed 
letters to curl. After removing the leaf wash off with clear water. 

The size for silver leaf for wooden signs may be made by mixing equal 
parts of coach finishing and good rubbing varnish. Tint with white. 
Varnish is applied over silver leaf to protect it from the air, which 
would otherwise tarnish it. If it is not desirable to have a varnished 
sign, then use aluminum leaf instead of silver. In this case use fat oil 
size. This latter leaf requires a rather softer size than either gold or 
silver leaf. 

Nickel Leaf. — What has been said concerning silver leaf will apply 
as well to nickel. Use the same size as indicated for silver and for 
aluminum leaf. It is advised to add a little white to the size used 
in any of these white metals. When using any of these leafs on the 
outside, and where it is desirable to get the work done quickly, on account 
of dust, etc., the size may be hastened by the addition of a little japan 
gold size. While the size does not have to be as dry as that for gold 
leaf, yet it must not be wet enough to cause the leaf to slide, or to cause 
the size to come through the leaf. As soon as the size is set firmly 
lay the leaf. Experience must be the teacher. 

Aluminum Bronze. — Of course it is not bronze at all, but simply 
powder. The coarser powder shows up more brilliant than the fine. 
But if the powder is to be mixed with a liquid for application, then use 
the fine powder. The coarse does best when dusted on. 

Bronzing Letters on Glass, Outside. — Thin some white lead, 
that has been ground in oil, with equal parts of boiled oil and quick 
rubbing varnish. If a hurry job, add a little gold size japan. When 
this size has been applied and set with proper tack rub on the bronze 
and rub well into the paint. Make a velvet-covered pad with cotton 
wool filling, for rubbing on the bronze. Allow the work to become 
hard-dry, then outline the letters, or shade them, as you prefer. The 
temperature should be such that you can do the work in comfort, or 
such as will best conduce to the drying of the job. 

A sign painter tells us that he never had success with white lead as 
a size for aluminum bronze. His formula calls for quick drying varnish 
3/5 part; chrome yellow in oil, 1/5 part; turpentine, 1/5 part. He 
adds that this size will take the bronze in an hour, and in warm weather 
in less time. Our objection would be to the color, yellow. Another 
formula: Take some zinc white and tinge japan gold size with it, 



158 THE EXPERT SIGN PAINTER 

adding also a little of the aluminum powder. Mix together and add a 
few drops of rubbing varnish. Letter the glass with this, and when on 
the right tack rub on the powder. 

Some painters mix equal parts of rubbing and coach varnish, with 
a little zinc white, to stain or whiten the varnish. Others, again, pre- 
fer equal parts of coach varnish and gold size japan, adding enough 
white lead, in oil, to form a rather stout mass. 

Gold size used alone has the bad habit of cracking. 

Before beginning the job clean the window glass and have it quite 
dry also. 

Another Formula. — Mix tube-color flake white with pale gold 
size japan and make a fairly thick paint; add enough drop black to im- 
part a pearly tint to the mixture. 

Still Another. — Mix white lead, in oil, with good copal varnish 
and a little japan drier. Thin with turpentine. 

When lettering on windows do the work on the outside, for it can- 
not be burnished or polished on the inside. Form the letters carefully, 
and shade them from the outside. Although the work may be done on 
the inside, it is better done on the outside, as it will look better so. 
The aluminum powder does not look as attractive done inside as when 
done outside, for you cannot burnish it there. 

Use a quick size on outside lettering, to get the work out of danger 
as soon as possible. 

Mix the shading color with varnish; japan color is too brittle. 

Use the same kind of color when doing the job on the inside. First 
outline the letters with black, and then put in the shade. When all 
is dry mix some aluminum powder with size, made to dry quick, and 
fill in the letters. When this has the right tack rub on the aluminum 
powder, let it dry, then back-up with a sharp lead color. For first- 
class work, let it stand several days, then apply a coat of spar varnish, 
which may be extended beyond the letters 1/8 inch, to hold the leaf. . 

On inside work a little aluminum powder is added to the size, but 
on outside work add a little flake white. 

Quick work demands a size made from spar varnish, whitened with 
white lead. The lead is a good drier. Zinc white is not. 

If the lettering is to be varnished don't use oil size. 

Outline and form the letters with perfectly true edges, then the out- 



THE EXPERT SIGN PAINTER 159 

line or shading may go on. Shading, lining and lettering are all best 
done on the inside of the window. 

To Letter a Second or Third-Story Window. — To letter with 
either silver or aluminum leaf the process is very similar to the gold 
leaf process. The glass must be clean, and the lettering must be backed- 
up with color containing little oil. Lay the work out with chalk, on 
the outside of the glass, but lay the leaf on the inside, guided by the 
lay-out on the outer side of the glass. When the leaf is dry you will 
not be able to see the lay-out, as when gold leaf is used. But take a 
fine tooth comb and break off the two large end parts, and with this comb 
the leaf with down strokes until you can see the lay-out. Then back up 
the letters with color, when done with the lettering, and no one will be 
able to see the fine comb marks from the street. Then finish with an 
edge line. 

Another way is, to carefully chalk your lay-out on the outside, and 
put on the edge line before laying the leaf. But there is an objection to 
this method ; the size is liable to crawl from the edge line and cause 
trouble when laying the leaf, thus marring the work. 

As stated elsewhere, as it is not easy to see the lay-out, particularly 
in double-leafed work, better use a pounce on both front and back. 

Letters in Aluminum Bronze on Glass. — For inside of glass use 
the very finest powdered aluminum bronze. Mix the bronze with 
damar varnish as thick as it will stand lettering with camel hair pencil. 
Lay out the letters on the outside of the glass with chalk. Be sure that 
the inside of glass is clean. Apply the aluminum bronze paint on the 
letters, and when it has the proper tack apply dry aluminum powder to 
the back of the letters. Give it all the powder it will take, using a cotton 
pad or piece of velvet. When this is dry dust off loose powder. 
Now mix some of the bronze paint with a little zinc white in rubbing 
varnish and boiled oil, equal parts. Apply this to the letters. When 
this is dry line or shade the letters; when this is dry apply a coat of 
white lead mixed in spar varnish or coach varnish and raw oil, equal 
parts. This last coat will require some time for drying, but once dry 
it will stay. 

If the letters are to be on the outside of the glass do the letters with 
a mixture one-third zinc white and two-thirds aluminum bronze, mixed 
with two parts quick varnish or japan gold size and one part boiled 



160 THE EXPERT SIGN PAINTER 

oil. When this is set, though not hard-dry, apply dry aluminum bronze 
to the job, using cotton pad wrapped in a piece of velvet ; rub on all 
the letters will take. Dust off lightly, then line or shade with color 
mixed with boiled oil and a little japan or japan gold size. 

Silver Leaf Letters on Glass. — If on the inside of the glass, 
make a drawing of the job, in full size, on manila paper, preferably. 
Prick the outlines with a coarse needle, making the holes close together. 
Rub off the back of the pattern with No. 2. sandpaper, to smooth off 
the roughness of the pricking. Now put the stencil pattern exactly 
in place on the outside of the glass, and rub dry whiting over the same. 
This will leave a stencilled copy of the design on the glass. 

Dissolve in one pint of hot distilled water eight No. 4 gelatin capsules, 
and strain through a fine clean cloth; add a few drops of grain alcohol. 
Flow the size on with a wide, flat camel-hair brush, apply the silver 
leaf with a silver leaf tip (this is the same kind as used for gold leaf, 
only heavier). Lay the leaf on the glass, covering all the letters and 
lines commencing at the top of the work. When dry, rub lightly with 
absorbent cotton. Then go over the job with size and patch any holes 
or breaks. Let this dry, then apply a coat of the size all over the work. 
When dry, rub lightly with cotton. Placing the paper pattern face 
to the glass exactly as before, on the inside, rub whiting over it, or dry 
Venetian red, so that the letters will be marked on the silver. Back the 
letters with black mixed in good rubbing varnish. When hard-dry clean 
off surplus leaf, then line or shade letters with oil colors, finishing 
with a backing of white lead mixed with varnish and boiled oil. 

Varnish on Silver Leaf. — Silver leaf will tarnish if exposed, and 
varnish does not do. The only place to use silver leaf in lettering is on 
the inside of glass, where it is protected from the air, etc. 

To Make Bronze Stick to Glass. — For gold bronze take chrome 
yellow ground in japan and mix with quick-drying rubbing varnish. 
For silver or aluminum bronze take white in japan and add about a 
teaspoonful of it to one-half pint of the varnish. Mix thoroughly. 
If too thick, thin out with turpentine. Either apply this to the glass or 
do the lettering with it. In about one-half hour this will- be tacky. 
Then brush over it with a cotton or velvet pad. This job will stand 
for years. 

To add to its attractiveness outline letters with red, or shade with 
same. The above method may also be used for board signs. 



THE EXPERT SIGN PAINTER 161 



HOW TO CHARGE FOR YOUR WORK 

It is impossible to give a price list on sign work that will be found 
useful in all localities, hence when prices are given it must be understood 
that they are approximate at the best, and merely serve as a guide. It 
is advised that you make up a price list yourself, based upon actual work 
done and taking into account the cost of materials and work. For 
example, take the cost of the sign board, of the painting thereof, and 
the lettering, also the time per hour. This will cover cost of stock 
and labor. Add to this 50% for overhead charges, making the gross 
cost. Then add 50% of gross cost for shop profit. 

Aside from the matter of price there is much useful information to be 
found in the following pages that will be of helpful interest to the be- 
ginner in sign work. We will take the various kinds of sign work 
in alphabetical order. 

Awning Signs. — The annexed figures are based on six-inch letters, 
adding 10% for each additional inch in height. This table governs 
lettering on awnings for stores, wagon covers, wagon umbrellas, etc. 
Allow a proper discount for quantities, according to size of contract. 

Lettering, one color, per running foot 12c. 

Lettering, two colors, per running foot 20c. 

Lettering, three colors, per running foot 24 to 30c. 

For shading add 25% to above prices. 

Brass Signs. — The price will depend upon character of work, 
whether acid-etched letter filled in with cement, or shallow etched 
simply painted-in. Price for former work may run from $6.00 a square 
foot to $8.00, according to size, or whether one-foot square or more. 
Smaller signs may run from $4.00 to $8.00 for one-line letters. For 
two lines add one-fourth to one-third more. For painted-in letters allow 
about 25% less. Raised letters are charged for by the upright inch, 
say 70c. Raised border charge for by the running foot, say $2.00 pt.~ 
foot. For bevelled brass sign, for bevelling, charge by the running 
foot, say 70c. Minimum charge not less than $2.00. Doing an old 
brass sign over, which will require repolishing and filling, not less than 
$2.00 per square foot. 



162 THE EXPERT SIGN PAINTER 

Board Signs. — The following list is based upon a good job, three 
coats of pure white lead and pure raw linseed oil paint, properly ap- 
plied. The prices on one and two coats will be lower, of course. If 
you furnish the irons and board and hang the sign it will all be extra, 
getting amount by taking cost of goods and time. If letters are shaded 
one color charge 25% extra. 

White ground, black letters, running foot $1.00 

Silver or aluminum leaf, running foot 1.50 

Ordinary For Rent signs, each 2.00. 

Plain lettering, plain ground, square foot 50 

Same, large boards, square foot 40 

Gold leaf, painted ground, square foot 60 

Silver or aluminum leaf, cut-in, plain ground, per 

square foot 40 

Plain lettering with paint or cut-in, square foot 20 

Board Signs, Raised Letters. — Prices the same as painted-letter 
board sign. Wooden letters extra. Gilding rounded or bevelled edge 
letters 20c to 30c, according to size and thickness of letter, per upright 
inch. For aluminum or silver allow 40% off the price of gold work, 

Board and Galvanized Iron Fascia Signs. — 

Per Lineal Foot 

Gold Silver Paint 

Up to 6 inches wide $1.00 $1.00 $.60 

Up to 12 inches wide 1.30 1.00 .80 

Up to 18 inches wide 1.70 1.50 1.20 

Up to 24 inches wide 2.00 1.70 1.40 

Up to 30 inches wide 2.50 2.00 1.60 

Up to 36 inches wide 3.00 2.50 1.80 

The above prices are based on smalted ground and one-line lettering. 
After the first full line add 30% per foot for additional work in gold. 
For silver add 25%. For paint add 20% per foot. For re-painting 
deduct 20%. If customer furnishes the board deduct 20%. If fin- 
ished in varnish add 30%. If gold ground add 75%. If done on both 
sides add 75%. 



THE EXPERT SIGN PAINTER 163 



Carved Raised Letters on Fascia Board, with Black Smalted 
Ground. — 

Per Lineal Foot 

3-inch letter up to 14 inches wide $2.50 

4-inch letter, 14 to 18 inches wide 3.00 

5-inch letter, 18 to 24 inches wide 3.50 

6-inch letter, 24 to 30 inches wide 4.00 

9-inch letter, 30 to 36 inches wide 5.00 

Letters to be gilded in XX gold leaf, deep shade. If in silver deduct 
20%. If two lines of letters add 75%. 

To illustrate difference in rates in different localities, taking the es- 
tablished association prices given on 60 square feet of sign work of 
a given description in two large cities, east and west, the western city 
charges one-third more than the eastern city. Moreover, in the former 
case two coats of paint are included in the contract, and in the other 
only the lettering is done, painting extra. I have decided to omit 
lists of prices, with the sizes of signs, in this edition, as being of no 
practical use. 

Bulletin Signs. — There is the same degree of indefiniteness about 
prices on bulletin sign work as attaches to all other forms of sign work. 
Some painters make a bid on a job of bulletin work and base that bid 
on guess-work, a very crude way indeed. Others will estimate by the 
square foot. One of the largest contractors for bulletin sign work tells 
me that in most if not all cities the price for a bulletin sign includes 
the rental in all cases. Prices vary from 50c per running foot to 80c, 
per month, for all ordinary locations, on a yearly contract, including 
painting and repainting. Especially desirable locations will run up the 
price accordingly, and on less than yearly contracts the price will be 
proportionately higher. For these figures the work must be strictly 
first-class in every respect. Prices also vary as to city. Equal quality of 
work will bring more or less, according to local conditions. Where 
the territory for bulletin work is large, as at Cleveland, Philadelphia, 
Buffalo, etc., rentals are lower, and hence prices are lower. Prices are 
higher around Pittsburgh, for instance, because the surrounding country 
is very hilly and broken. Hence prices there are higher, it being simply 
a case of demand and supply. 



164 THE EXPERT SIGN PAINTER 

As regards the mechanical side of the matter, put up as good a board 
as you can get built, then paint it as good as possible. The quality of 
your work will regulate the price. If work and location are good the 
advertiser will pay liberally. 

Where a bulletin board is divided into many sections the entire yield 
will be better than when one party buys the board. Doing small sections 
will of course require more time than doing the sign as a whole. 

One bulletin painter says that from $30 to $60 a year for a section 

9 by 12 feet would be a fair price, with an allowance of one-third off 
for renewals, where the original painting is to continue for another 
year. 

Pictorial not duplicated must be charged for at higher rates than 
plain work. Certain parts of the space will be more valuable to an 
advertiser than certain other parts. The top, for instance, is more desir- 
able than the bottom position. 

Be sure what work you are to do, and where it is to go, before 
concluding a contract. 

Bulletin signs may be bought ready made, in sections ready for the 
posts; they are sheet steel. 

Sizes run from 4 by 6 feet up. Charge so much each up to those 

10 feet in height, when the charge may be made by the running foot, 
say $4.00 per foot. For each foot above ten add 25c per running 
foot. 

When bulletins are sold in lots a discount may be made, say 10%. 
If you are not to erect the bulletin boards deduct say 20%. The cost 
of rent of location must be added to the charge. Pictorial backgrounds 
are to be charged for at the rate say of 10%. 

Bulletins ranging from 8 by 12 up to 8 by 40 feet charge at the rate 
of from $3.00 to $4.00 per running foot. 

Canvas Signs on Frames. — Three feet wide or less $1.20 per 
running foot, up to 25 running feet. After first 25 feet charge 36c per 
foot. If wider than three feet estimate at 40c per square foot, up to 
75 square feet. After first 75 square feet charge 30c per square foot. 
For gold lettering charge 10% less than for similar work on board or 
metal. 

Campaign Banners. — For street display, style, ribbons, and portrait 
panels of canvas sewed on net, 14 by 30 feet, $3.00 each. Or charge say 
60c per square foot. 



THE EXPERT SIGN PAINTER 165 

Drum Signs. — Deduct 30% for lots of six or more. Deduct 10% 
for flat zinc. Deduct 15% if done entirely in silver. Add 30% for 
every six inches over three feet in width. Deduct 15% for repaints. 
Add 75% for gold grounds. Add 30% for silver grounds. Estimate 
bracket signs, double face, same as a pair of drums, less 15%. 

Glass Signs. — 

Lettering in gold leaf, up to 6-in. height, per running 
foot < $1.50 

Lettering in silver, up to 6-in. height, per running foot 1.50 

Lettering in aluminum leaf same as for silver. 

Lettering in gold, from 6 to 10 in., per running foot. 2.00 

Lettering in gold, from 10 to 14 in. height, per run- 
ning foot 3.00 

Lettering in silver, 6 to 10 inches 1.50 

For shading one color add 15%. Add 10% for each additional inch 
in height. Add 25% for embossed work. Add 10% for blended work. 
Add 20% for gold outlining with transparent center. For colored 
background, stippled and varnished, charge per square foot, extra, 
10%. Gold striping on panel, according to width of stripe, charge from 
15c to 30c per running foot. Silver or aluminum striping same, less 
20%. A sign painter says that laying silver leaf with water size, as 
done on glass, is worth the same as for gold leaf, deducting the dif- 
ference in price of leaf. He adds that gold lettering is worth from 20c 
to $2.00 per letter, according to amount of letters. Another sign painter 
figures by the running foot, but adds that it makes the totals look big 
to the customer, hence he finds that by charging 16c per upright inch 
he will be satisfied, and that money can be made at that price. Of 
course it is below the regular price, a 6-inch letter making 96c, but 
it all depends upon circumstances. Some work may be done at a 
profit at $1.00 per foot per 6-inch letter. Some do charge $2.00. And 
the amount of lettering done affects the charge, for where we would 
charge say $2.00 per five lineal feet we would charge only about $1.00 
per 100 lineal feet. Then there are signs done on glass and by stencil, 
in which leafing is the principal material used, and for such work prices 
must be made to suit, being based upon amount of material and labor. 
No precise set of prices can be given in this connection. 



166 THE EXPERT SIGN PAINTER 

For other glass signs or lettering with leaf see under different heads. 
Gilding on Glass. — Work done on windows; if done on ground 
floors increase rate by 20%. 

Per Lineal Foot 
Gold Silver 

5-inch letter, one shade or lined $1.60 $1.20 

6-inch letter, one shade or lined 1.80 1.34 

8-inch letter, one shade or lined 2.00 1.50 

10-inch letter, one shade or lined 2.60 1.74 

Four-inch or less outlined, or with ground, per lineal foot, $2.00. 

For each additional shade add 20%. For ornamental face add 60%. 
For blended shade add 80%. For each additional upright inch to let- 
ters add 30%. For embossed work add 50%. For gilded outline 
lettering with transparent center add 50%. For colored background 
stippled and varnished add 10% per square foot extra. For gold or 
silver lines around panels, 3/8 inches wide, 20c per lineal foot. Up to 
1/2 inch, per lineal foot, 40c. 

A sketch should be made for each order, which helps in making a 
correct estimate, and also often results in securing the work. Draw 
to a scale of 1/4 inch to the foot. 

Glass Fascia Panels, Interior. — Charge per square foot, $6.00. 

Glass Swing Signs, in Fancy Frames. — Charge $6.00 per square 
foot, glass measure, up to $10.00 per square foot. 

Glass Swing Hall Signs, One Side. — On frosted glass, lettered 
in black or colors, same as swing signs in color letter. 

Laundry Signs. — These are board signs placed on the sidewalk. 
They are mostly done with paint lettering, but sometimes gold or 
aluminum leaf is used. The prices given are for both sides. For 
single boards charge as for similar lettering on signs. For lots of ten 
or more use the following price list. 

Size Paint 

12 by* 18 inches, each $2.00 

14 by 20 inches, each 2.50 

16 by 24 inches, each 3.00 

18 by 30 inches, each • 3.50 






Gold 


Aluminum 


$3.00 


$2.50 


3.50 


3.00 


4.00 


3.50 


5.00 


4.00 



Gold 


Aluminum 


6.50 


5.00 


7.50 


6.00 


9.50 


7.00 



THE EXPERT SIGN PAINTER 167 

Size Paint 

20 by 36 inches, each 4.00 

24 by 36 inches, each 5.00 

24 by 48 inches, each 6.00 

Office Lettering. — The first set of figures refers to paint or alumi- 
num, the next set referring to gold lettering. For doors and windows. 

1-inch letters, each $.10 $.24 

2-inch letters, each 14 .30 

3-inch letters, each 20 .40 

Japanned Tin Signs. — 

Size Gold Paint 

Up to 3 by 14 inches, one line $1.60 $1.00 

Sizes from above 3x14 to 6x18, one line. . . . 2.50 1.50 

Sizes up to 10x14, two to three lines 3.00 1.60 

Up to 12x17, two to three lines 3.20 2.00 

Up to 14x20, two to four lines 4.50 3.00 

Up to 18x24, two to four lines 6.00 4.00 

Up to 20x28, two to four lines 7.50 5.50 

Up to 24x30, two to four lines 9.00 6.50 

Up to 24x36, two to four lines 11.00 8.00 

The prices given include outlining and shading, and are for the tin 
and lettering. Such signs are mainly used by dentists and physicians. 
Some sign painters make the prices for lettering with paint and 
aluminum 25% of the prices given for gold. By this method the 
prices given for paint would be increased. The prices given here 
are for a single sign, and where ten or more are ordered at one 
time with the same reading, a discount of about 20% may be allowed. 
For lettering on aluminum leaf a discount of 20% may be given. 

Unmounted Muslin Signs. — For ordinary, per square yard, 90c. 
Fifty or more square yards, per square yard, 80c. For 100 or more 
square yards, per square yard, 70c. For mounted muslin signs add 10% 
per lineal foot to above prices. Muslin banners for railway cars, per 
square yard, 90c. Add $3.00 a banner for sewing and rope. 

Some charge 20c per square foot for muslin sign work, which would 



168 THE EXPERT SIGN PAINTER 

double the above price list. But this is for one square yard sign only, 
decreasing the rate as the size increases, so that a sign of four square 
yards would be at the rate of 14c per square foot, and for an area of 
300 square feet the charge would be 10c per square foot, or 90c per 
square yard. Others charge by the lineal foot, same as lettering on 
wood, grading the price by the height of the letters. Colored work is 
charged extra, say 40%. The same rate applies to pictorial work. For 
cut-in work add 4c per square foot additional. In all cases you furnish 
the muslin, but charge extra for frame, molding, etc., for frame adding 
4c per square foot of sign. Banding and molding each 2c per square 
foot of sign. 

Oil Cloth Signs. — Ordinary, per square foot, 30c. For 40 or more 
square feet, 24c. For 75 or more square feet, 22c. Frames additional, 
8c per square foot of sign. Cut-in work, 4c per square foot of sign 
additional. Banding, 2c per square foot of sign additional. Molding, 
2c per square foot of sign additional. Fancy background, 25% extra. 
Painting before lettering, per square foot, 4c. 

Paint Gold 

5-inch letters, each . $.22 $.44 

6-inch letters, each 26 .50 

7-inch letters, each 30 .60 

8-inch letters, each 36 .70 

Ordinary one-stroke letters in paint, each 10c. Shading or other 
fancy work add 20%. Office transoms, gold, numbers, each numeral 
up to 99, 50c. Each numeral after 99, gold, 40c. Numerals in any 
paint color, each 50% less than for gold. Silver or aluminum same as 
paint. Estimates are based on sizes up to five inches. 

Real Estate Sign Boards. — These may be either hand-painted or 
stenciled, and the price must be set accordingly. Also the charge will 
be much more for one or a few than for quantities. Some charge $2.00 
for a 2 by 3 foot board, lots of less than 25. In 100 lots they charge 
$1.80 each. For all sizes larger than 2 by 3 the charge is by the square 
foot, 2c, with a reduction of 2c per square foot for lots of 25. Sten- 
ciled signs may be done for about one-fourth the price of hand- 
painted signs; they may be sold at that rate. 

Prices vary with different cities, and even in different shops in a city. 



THE EXPERT SIGN PAINTER 169 

Where some charge 2c per square foot for a certain size sign others 
may be found to charge twice as much. However, in cities competition 
is keen and that keeps prices down and lessens wide differences of 
prices, too. 

Real estate signs painted white and cut in with black may be done 
cheaper than black letters on a white ground. Where more than one 
color is used an extra charge is made. The area of a sign board affects 
price. Thus, a board containing say ten square feet will cost a third 
more per square foot than one having an area of 100 square feet. 

10 by 12 inches, in lots of 25 or more, each $1.00 

in lots of less than 25, each 1.20 

for a single one 1.80 

12 by 18 inches, in lots of 25 or more, each 1.50 

in lots of less than 25, each 1.70 

for a single one 2.00 

12 by 24 inches, in lots of 25 or more, each 2.00 

in lots of less than 25, each 2.30 

for a single one 3.00 

24 by 36 inches, in lots of 25 or more, each 4.00 

in lots of less than 25, each 4.50 

for a single one. 5.00 

36 by 48 inches, in lots of 25 or more, each 6.00 

in lots of less than 25, each 6.50 

for a single one 7.50 

The above includes the boards and two coats of the best white 
lead paint; it is for best work. Discount may be made to suit cir- 
cumstances — a statement always well to make when speaking of prices. 
Rather than lose a desirable job or customer one may well cut his prices. 

Swing Signs, Plain, Tin or Zinc. — To be done both sides. 



6 by 12 

10 by 14 

12 by 18 

14 by 20 

18 by 24 

24 by 30 

24 by 36 



nches . 
nches . 
nches . 
nches. 
nches . 
nches . 
nches . 



Gold 


Paint 


$4.00 


$3.00 


6.00 


4.00 


6.50 


4.50 


7.00 


5.50 


9.00 


6.00 


14.00 


10.00 


17.00 


11.55 



170 THE EXPERT SIGN PAINTER 

For japanned tin add 20 per cent. If on board, add 15 per cent. 
If fancy shape, add 40 per cent. If on one side only deduct one-third. 

Silk or Satin Lettering. — Gold, per lineal foot, $2.00. Silver, 
per lineal foot, $1.50. Color or bronze, per lineal foot, $1.00. 

Tin Stair Strips. — Done in gold or silver, per lineal foot, $1.00. 
Done in two colors, per lineal foot, 60c. 

Transoms, House Numbers on. — Up to 8 inches high, with paint, 
$3.00. If done in the shop, $2.00. Three to five numbers, one trip, 
paint, $1.50. Five or more numbers, one trip, $1.20. 

Done in gold or silver, add $2.00 more to each item in above list. 

Wall Signs. — Wall signs may be on brick or wooden surfaces, but 
prices are same in both cases. If brick wall must be first-coated, add 
per square foot from two to six cents, according to condition of wall 
and quality of paint used. For stacks and other high and difficult places 
add 4c per square foot. For ornamental backgrounds add 30% to 50%, 
according to kind and amount of work. The estimates are based on 
square feet of surface painted and lettered. Prices range from 20c 
per square foot up to 100 square feet, to 10c per square foot for 500 
square feet or more. This is for ordinary plain lettering; more or less 
fancy lettering, with colors, add from 2c to 4c per square foot. For 
extra coat of paint add 2c per square foot. 

Wagon Lettering. — 

Aluminum Gold Paint 

Plain, one color, per lineal foot. . $0.50 $0.80 $0.40 

Same, with one shading .70 1.00 .60 

Same, with ornamental work. . . .90 1.20 .80 

The above prices are for letters up to five inches. For every inch 
above five add 4c. Pictorial or other fancy or ornamental work may 
be charged for at the rate of $2.00 an hour. 

Woven Wire Signs. — 

The charge for the wire mesh sign ready for the letters 

is about, per square foot $0.50 

Add for painting mesh, if required, per square foot 16 

Charge for erection of sign, per square foot 70 

Galvanized iron letters and attaching same, per verti- 
cal inch 20 



THE EXPERT SIGN PAINTER 



171 



Gilding galvanized iron letters, per vertical inch 30 

Wooden letters and attaching same, per vertical inch. .16 

Gilding wooden letters, vertical inch 20 

Aluminum leafing 16 

Window Shade Lettering. — 

Gold, per lineal foot $1.00 

Silver, per lineal foot 80 

Paint, per lineal foot 70 

Add 10 per cent, for shading. 

To measure gold leaf on raised wooden letters, get the number of 
square inches on an average letter of the size required. Standard gold 
leaf is 3 3/8 inches square. Estimate it at 3 inches. That will give each 
leaf nine square inches of covering quality. It will allow for laps and 
other losses, including some damaged leaves in the pack. The time 
and other matters you can figure out in the usual way. 

When estimating on a copper dome that is to be gilded allow each 
square foot of surface one and one-half books of leaf. Estimate the 
cost by counting the time, two coats of paint, one coat of oil size, and 
the gold leaf. Also cost of preparing the dome for gilding by washing 
off, etc. 

MISCELLANEOUS INFORMATION 

LETTERING CLOCK DIAL TO PREVENT BLEEDING RED 

WOODEN LETTERS ON MARBLE GOLD LETTERS ON ROUGH BOARD 

LACQUER FOR GOLD LEAF OR IMI- FLAT BLUE GROUND 

TATION EXIT SIGNS 

SUGAR OF LEAD IN SIGN PAINTING PAINTING BARBER POLE 

LETTERING ON WATER COLOR GOLD LEAFING MONOGRAM ON 
REMOVING VARNISH RUN VARNISHED SURFACE 

LETTERING IN BLACK ON LAMP TO GILD IRON LETTERS 

GLOBE ENAMEL PAINT ON SHEET IRON 

LETTERING A BOX ELECTRIC SIGN PAINTING AND GILDING WIRE 
ATTACHING WOOD LETTERS TO SCREEN 

CEMENT LETTERING ON GLASS FOR ELEC- 
GILDING COPPER DOME TRIC LIGHT SIGN 

TARNISHING OF BRONZE LETTERS LETTERING ON WATER PAINTS 

TO STRAIGHTEN OUT BRUSH VISIBILITY OF COLORS AT DIS- 
LETTERING ON MARBLE TANCE 

REMOVAL OF PAINT FROM GLASS BEVEL FACED GOLD LETTERS ON 

SIGN WINDOW 

MIXING AIR BRUSH COLOR FANCY GOLD ON GLASS SIGN 

QUICK DRIER FOR STRIPING FROSTED SILVER SIGN 

IMITATION GOLD COLOR CHEAP GLASS SIGN 

PENCIL FOR MARKING GLASS, ETC. CHEAP RAISED LETTER SIGN 

LETTERING ON OPAL SURFACE IMITATION PEARL SIGN 

TO DO CLEAN LETTERING SPATTER "WORK SIGN 



172 



THE EXPERT SIGN PAINTER 



NOVEL SANDED SIGN 

HANDSOME SIGN 

SIGN READING THREE WAYS 

NOVEL GLASS SIGN 

FANCY MIRROR SIGN 

CHEAP ADVERTISING SIGNS 

BAS RELIEF SIGNS 

SUGGESTION FOR FINE SIGN 

WINDOW SIGN 

NOVEL STUCCO SIGN 

IMITATION EMBOSSED SILVER SIGN 

CHEAP PRINTED SIGNS 

FINE IMITATION EMBOSSED SIGN 

MATT CENTER LETTERING 

SIGN ON IMITATION STAINED 

GLASS 
QUICK GOLD SIGN ON GLASS 

GLASS SIGNS BY TRANSFER PROC- 
ESS 
PEARL AND GOLD SIGN 

CLEAR LETTERS ON FROSTED 

GLASS 

LAY-OUT ORNAMENTAL SIGN ON 

GLASS 
THE CUT-IN LETTER 
HOW TO HANG SIGNS 
COLORING ELECTRIC LIGHT BULBS 
LETTERING ON SHADE CLOTH 
GILDING LETTERS ON WINDOW 

SHADES 
LETTERING ON POLISHED GRANITE 
FASTEN CARVED WOOD LETTERS 

TO METAL OR STONE SILL 
CORRECTING ERROR ON FINISHED 

SIGN 
MAKING BOTH SIDES OF DESIGN 

THE SAME 
DANGER FROM PAINT ON PLATE 

GLASS SIGN 
HOW TO CLEAN PLATE GLASS 
TO CLEAN AND BRIGHTEN WIN- 
DOW GLASS 
TO REMOVE PAINT AND SHELLAC 

FROM MARBLE 
PREVENT BRUSH MARKS ON BACK 

OF GLASS 
PAINTING OLD WINDOW SHADES 
SIZE FOR DECALCOMANIA LETTERS 
PAINTING PICTURE ON DRUM HEAD 
PAINTING THEATRICAL DISPLAY 

SIGNS 
REMOVING FROST FROM WINDOW 
GOOD BLACK FOR CUTTING-IN 

WORK 
BRUSH MARKS ON TRANSPARENT 

COLOR 
WHITE LETTERS TO SHOW THROUGH 

GLASS 
POLISHING POWDER FOR GLASS 



SWEATING OF GLASS INJURING 

GOLD LEAF 
STRONG STENCIL PAPER 
ALUMINUM BRONZE LETTERING 
RESTORING COLOR OF GOLD 

LETTERS 
PANEL WORK ON GLASS 
LETTERING ON CELLULOID 
BLENDED GOLD AND SILVER 

LETTER 

QUICK WORK ON CHEAP SIGNS 

HOW TO GREEN COPPER 

NOVEL WAY TO MAKE GOLD SIGN 
ON GLASS 

BULLETIN SIGN PAINTING 
STENCILLING LETTERS ON SIGN 
QUICK GLASS SIGN WORK 
MARBLE BACKGROUND ON GLASS OR 
WOOD 

TO ATTACH ALUMINUM-BACK 

LETTERS ON GLASS 
TO MIX DRY LAMPBLACK WITH 

WATER COLOR 
LETTERING ON WINDOW WITH 

BRONZE 
PAINTING BOX TRANSPARENCY 
RAISED GOLD LETTER BOARD 

SIGN 
MODERN WAY OF GILDING ON 

GLASS 
VARNISHED GROUND BOARD SIGN 
MAKING FINE BULLETIN SIGN 
GILDING ON PAPER AND CALF-SKIN 

VELLUM 
GOLD LETTER SIGN IN 24 HOURS 
SIZE FOR ALUMINUM LEAF 
LETTERING WHITE ON DARK 

GROUND 
WATER GILDING ON GLASS 
BLACK SIZE FOR GOLD LETTERS 
GOLD LETTERS WITH SILVER 

BACKING 

WHITE LETTERS ON BACK OF 
GLASS 

POUNCING ON GLASS 

PREVENT SWEATING OF GLASS 
WHILE GILDING 

NOVEL QUICK GOLD SIGN 

LETTERING ON WIRE GAUZE 

TIN FOIL SIGN 

ANOTHER NOVEL SIGN 

ARRANGING CURVED LINES OF 

LETTERS 
LAYING OUT STAR 
MAKING LARGE CIRCLE 
TO MAKE HORIZONTAL LINE 
MAKING AN ELLIPSE 



THE EXPERT SIGN PAINTER 173 

Lettering a Clock Dial. — If the part that is to receive the paint 
is first made slightly rough, as by embossing, for instance, the paint will 
adhere better. The paint should be thin, and yet heavy enough to give 
an opaque letter. As heavv paint expands and contracts a good deal 

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on glass it is likely to peel ; hence the thin paint is safer. For ordinary 
lettering on glass use oil color, with a drop of varnish and a trifle of 
driers; but for the dial we advise using japan drop black thinned with a 
mixture of japan gold size three parts, turpentine one part, and boiled 
oil one- fourth part ; the latter will slow up the color and cause the paint 
to adhere better. 



174 THE EXPERT SIGN PAINTER 

To gild a tower clock face, first lay aluminum leaf, size this with oil 
size, and then lay the gold leaf. One leafing done this way will wear 
better than two leafings on the bare face. 

To letter a clock dial, first sketch in the letters or numerals, as the 
case may be, whether Arabic or Roman, then outline them with the 
ruling pen, after which fill them in with a small camel hair pencil. Use 
gloss black paint, thinned so that it will flow easily from the ruling pen. 
A ruling pen gives true, sharp edges, difficult to make with the hair 
pencil. The Roman numbers should be proportioned as follows: The 
breadth of an I and a space should equal one-half the breadth of an X ; 
that is, if the X is one-half inch broad the I will be 3/16 inch broad, 
and the space between the numerals 1/16 inch, this making the I plus 
one space equal to one-quarter inch or half the breadth of an X. The 
V should be the same breadth as the X. 

Wooden Letters on Marble. — The letters should be coated 
with two coats of shellac, and when dry attach to the marble with a 
paste made of white lead in oil mixed with drying varnish ; spread thinly 
and press down firmly, leaving very little cement under the letters. 
If the letters tend to slide down, glue a slight lath under the letters. 
This may be removed later. 

Lacquer for Gold or Imitation Gold Leaf. — Take 8 parts of 
gum mastic, 4 parts gum sandarach, 4 parts kauri gum, and 4 parts 
gum camphor; dissolve in equal weight of 95 p. c. alcohol. If this does 
not give as free-flowing a lacquer as desired use about 50 parts of 
alcohol to 20 parts of gums. 

Sugar of Lead in Sign Painting. — Sugar of lead comes in tubes 
for artists' use, and is mixed with damar or mastic varnish. It gives a 
matt effect, useful when a matt center is desired, the outline or border 
being bright gilding; the matt center is stippled. With letters up to 
four inches high it is best to gild and outline the letters. When the 
backing is dry, clean off surplus gold and fill up the letters with sugar 
of lead from the tube; gild again, over the sugar of lead varnish, or let 
it dry. Use water size for gilding the filling of the letters. On letters 
of larger size first letter with the sugar of lead varnish, a little smaller 
every way than you intend to finish. When this is dry, gild on water 
size over the entire letter, and in backing up run around the letters 
so as to show a margin of burnished gold, all around the matt center. 

Lettering on Water Color. — Never use oil colors, though japan 



THE EXPERT SIGN PAINTER 175 

color thinned with turpentine or benzine will do when a permanent 
color is desired. Color mixed with water and gum arabic or glue is the 
best paint to use. 

To Remove a Varnish Run. — Wet a piece of cloth and rub it 
over soap, dip in fine pumice powder, and rub the part that is to be 
removed. The soap will prevent the particles of pumice stone from 
sticking in the soft varnish. 

Lettering in Black on Lamp Globes. — Black made from as- 
phaltum varnish mixed with japan black and turpentine scaled or 
blistered in a short time. Try lampblack mixed in coach or spar 
varnish, with a little gold size japan; mix as stiff as you can conveniently 
use with the lettering pencil. Exterior spar varnish, thinned with a 
very little turpentine, is best. 

Lettering Box Electric Sign. — A painter says that he has had 
difficulty in getting the paint to stay on the glass for more than six 
to eight months ; it peels or cracks. The paint is on the interior, and 
there is no sweating. Varnish color appears to stand better than oil 
colors; for white use white enamel paint. Use turpentine sparingly as 
a thinning medium, as it weakens the varnish binder. 

Attaching Wooden Letters to Cement Surface. — If the letters 
are small they may be made fast with a mixture of lead in oil with gold 
size or varnish, making a stiff paste and applying it to the edges of the 
letters, excepting the bottom edges. Press the letters close to the 
cemented surface. One difficulty is in keeping the letters clean, as the 
putty will squeeze up the sides. If the letters are large it will be neces- 
sary to drill holes and plug them with wood. To arrange for this 
it will first be necessary to fasten the letters temporarily with brads, 
fastening at the top of the letter, where the holes will not show. A 
brass or other metal plate may be made fast to backs of letters, and this 
plate may then be secured to the surface of the cement with screws, in 
the wooden plugs. The letters are fixed to iron bars or rods 1 inch by 
3/16 inch by means of screws from the back. These are in turn secured 
to the wall with screws into plugs, or suspended from hold-fasts driven 
into the wall. By this latter method the letters may be secured close to 
the wall, or away therefrom. Paint iron rods same color as cement, 
to make them appear less noticeable. 

Raised wooden letters may be secured from the back, using small 
screws and washers where the wires intersect, or you can use small 



176 THE EXPERT SIGN PAINTER 

staples. To lay out the lettering fasten temporarily at the bottom, to 
form the base line, a strip of wood, say one inch, and place the letters 
on this until you have fastened all to the wires, when the strip may be 
removed. Galvanized letters may be soldered with galvanized iron 
strips to the backs of the letters, which cross the wires or strips, and 
small bolts may be used. 

Gilding a Copper Dome. — Clean off all dirt, then apply a wash 
made up of copper sulphate dissolved in water, to which add a little 
nitric acid, enough to make the water sour. This will cut the surface 
and afford a tooth for the paint. Apply two coats of paint, the first 
coat being made quite sharp with turpentine, and the next coat made of 
white lead in oil, colored with yellow ochre and thinned with boiled 
oil. To the first coat add a little varnish to bind the paint. Upon 
this foundation apply the gold size. Use a size that will dry with a 
tack in 24 hours but that will hold its tack a week. Use patent 
leaf, and take a still day for it, if possible. Try the size for tack before 
laying the leaf; if too tacky it will injure the luster; if too dry it will 
not hold well. Have the two coats of paint perfectly hard-dry before 
applying the size. The leaf used should be pure gold, and a heavy 
grade. If properly done a gilded copper dome will last well for about 
ten years. 

The fat-oil size used should be thinned well with turpentine, and be 
applied quite thin, or rubbed out thin, more properly. 

Some prepare the copper by simply washing it off with sal soda 
water, rinsing with clear water. Some advise a paint of yellow ochre 
and varnish, thinned with turpentine to dry flat and hard. Some 
advise a 48-hour size. 

Tarnishing of Bronze Letters. — When you letter with bronze 
powder prevent tarnishing by a coat of thin shellac, followed by a coat 
of copal varnish. 

To Straighten Out Brushes. — When the bristles of a brush have 
warped or curled from setting too long in a can, wash out thoroughly 
in warm water and soap or washing powder, and while wet dip the 
bristles in dry wood ashes and chisel out the brush with the fingers — that 
is, shape the bristles about as they should be, then put the brush away 
to dry. This will make the brush like new. 

Lettering on Marble. — Lay out the letters and size with gelatine 



THE EXPERT SIGN PAINTER 177 

water size, to prevent the color spreading. Then mix whiting and 
gelatine size to a paint form and apply several coats, rubbing each coat 
smooth when dry. Next apply evenly a coat of gold size, and when of 
the right tack apply the gold leaf, and burnish with an agate burnisher. 
Several leafings will give the best job. Paint may be used if desired. 

You can use a stencil pattern for putting on the letters, pouncing in 
with charcoal dust or dry ochre. 

To Remove Paint from Glass Color Sign. — A safety razor blade 
makes a good tool for the purpose. Hold the blade at an angle of 
about 45 degrees, making downward strokes; this is better than using 
ammonia. 

Mixing Air Brush Color. — Thin out the oil color with benzine 
or gasoline ; turpentine is too gummy. 

Quick Drier for Striping. — To do a job of striping, use this 
formula: One part good rubbing varnish, two parts English finishing 
varnish, and one part turpentine ; place these in a bottle, cork tight, 
shake well, and set aside for a few days. For striping with carmine, 
verdigris or Vandyke brown add a little good japan. 

Imitation Gold Color. — A clever imitation of gold may be ob- 
tained with flake white ground in varnish and tinged with vermilion. 
French yellow ochre, burnt sienna, raw umber and white, all in certain 
proportions, can be mixed to imitate gold that is in half-shadow; so that 
a gold leaf pattern will not show upon it in some lights. 

Pencil for Marking Glass, Porcelain, etc. — Take about equal 
parts of talc and beeswax and add any desired color or white, and knead 
together, then roll out in pencil form. Good for writing on glass, 
porcelain, metal, etc. 

Lettering on Opal Surface. — For lettering on opal or milk glass, 
mostly used by physicians and dentists, and on which surface the letters 
are so apt to peel off, try the best lampblack with a little white lead to 
give it body, thin with good medium drying body varnish, and very 
little turpentine. This will give a more tenacious color than is usually 
employed, though it is difficult to make a prefectly sure job. 

To Do Clean Lettering. — If the sign has several lines of lettering, 
begin painting in at the bottom, and there will be no danger of your 
rest or mahl stick dabbing into the fresh color of the letters. 

To Prevent Bleeding Red. — If there are red letters on the old 



178 THE EXPERT SIGN PAINTER 

sign that is to be re-lettered, shellac them, though this is not infallible; 
better remove the red. Of course only aniline reds will bleed through, 
and some are better than others. 

Gold Letters on Rough Board. — Usually such a board is covered 
with canvas or light duck, but some do it this way: Prime the board 
with good white lead paint (after having smoothed off any particular 
roughness), thinning the lead with equal parts of oil and turpentine 
when dry, putty up and apply a coating of whiting-and-glue size ; when 
dry, make smooth with fine sandpaper, dust off, and apply a coat of 
good interior varnish. When this is dry rub out with fine sandpaper 
and whiting; dust off, and the ground will be fit for the gilding. 

Flat Blue Ground. — The old way was to mix ultramarine blue 
with gold size, making a stiff paste, then thin out with turpentine, adding. 
a few drops of raw oil. Then another way came into vogue — mixing 
the blue stiff with boiled oil and thinning out with turpentine. Then 
came a new method : Mix stiff with boiled oil and thin out with kerosene 
oil. The latest method consists in mixing the blue thick with varnish 
and thinning out with kerosene. This will dry hard, and the color will 
work freely under the brush, and not sink in. So declares an expert and 
he adds that it makes a good ground for aluminum letters. I would 
object to the coal oil (kerosene), one of the worst thinners used. 

Exit Signs. — If they are black ground with red letters, cut in the 
letters on the clear glass with black in varnish, and be sure to get an 
opaque black ground ; mix the red in varnish and apply it with a flat 
brush, flowing it evenly over the back of the sign. The black ground 
must be perfectly dry before putting in the red letters. As soon as the 
red letters are done lay the glass with letter side up, so that the varnish 
color can flow out and hide any brush marks. 

Painting Barber's Pole. — Once in a while the sign painter has a 
barber pole or other like advertising sign to do, and as his experience with 
such work is oftener small than great, a few words here concerning the 
work may find due appreciation. In the first place, the barber's outfit 
of pole and other sign devices, such as index hands, bath and other small 
signs, for use inside and outside the shop, are made by the factory, in 
many elegant designs, so that it is simply a question of price and selection 
with the hair artist. The pole;; range in size, counting at the base, from 
6 to 12 inches, and they may be square, round or any other form. As 
to color, red, white and blue are of course the standard, but of late years 



THE EXPERT SIGN PAINTER 



179 






180 THE EXPERT SIGN PAINTER 

other colors are in favor, even black, while some have marble bases; 
some show white stars on a blue ground ; these are usually at the top of 
the pole, under the gilded ball. If the sign painter has anything to do 
with the pole it is to renovate its colors. Where the stripes run up and 
down the pole, whether a round or square pole, the problem is to get 
the stripes true. When there is enough color left to guide the painter 
there is no difficulty, but not so otherwise. The edges of the stripes 
must be cut in very neatly. If the pole or post is square, then the best 
way to do is to lay out the stripes with a thin piece of board, the width 
of the stripe, holding it on the work at an angle of 45 degrees; with a 
lead pencil mark along the edges of the stripe and see that the corners 
meet each other on the adjoining side. Take the lines across chamfers 
horizontally. Say that the pole was painted solid white, then cut in 
with red, or with both blue and red, if these colors are desired. In this 
way you will have no wet edges to paint against. For a round pole, 
painted white, take strips of manila paper of proper weight and of the 
width you wish the stripes to be, and wrap them regularly around the 
pole, beginning at the top and fastening at the bottom, with tacks. If 
both red and blue stripes are desired, then run two strips of paper, which 
will leave white stripes between each color. Care must be taken to equal- 
ize the space, so that the colors will alternate evenly; it is seldom that 
more than red and white are run on a pole. The strip of paper prevents 
the paint from getting on the white, it makes neat edges, if tightly 
wrapped, and quickens the work. Some run a pencil along the edges of 
the paper, then remove the paper and paint in the stripes with a sash tool; 
when the paper is left on the stripes may be run with an 8-0 paint brush. 
To varnish the work use the best pale spar varnish; it will stain the 
white a trifle. Hit none to hurt. The colors under varnish must of course 
be such as will not fail, hence must be mixed with very little oil, thinning 
with turpentine and a little varnish. 

Gold-Leafing Monogram on Varnished Surface. — Say it is a 
monogram on the panel of a coach. To prevent the leaf from adhering 
to the varnished surface cut a raw potato in two and rub the cut part over 
the part that is to be gilded and for a little space beyond; this will 
cause a slight deposit of starch, but after it is dry it will be best to 
repeat the operation. Then size in the monogram with fat oil and gild 
when the size is right. A thin, quick size of fat oil is best. When the 
gilding is dry the panel may be washed off with clear water. 



THE EXPERT SIGN PAINTER 181 

To Gild Iron Letters. — Give them a bath of acid water, muriatic 
acid, then rinse in clear water, and finally in a bath of milk of lime. 
Let the letters dry, dust off the lime, then apply a coat of iron paint 
mixed with boiled oil. When dry, sandpaper smooth, dust off, size 
with fat oil, then gild ; two leafings will be best. 

Enamel Paint on Sheet Iron. — Sheet iron or steel is liable to 
rust, and this even under paint. To prevent this as much as possible rub 
the iron, after cleaning it off well, with raw linseed oil, rub it into the 
metal, and leave none on the surface. The primer may be composed 
of equal parts of red and white lead. The next coat may be composed 
of white lead thinned with equal parts of oil and turpentine. The 
second coat, white lead thinned with 2/3 turpentine and 1/3 oil. The 
third coat, 2/3 zinc white and 1/3 white lead, thinned with turpentine, 
with a very little varnish for a binder. With smoothing, the surface 
will then be ready for the enamel paint, white or color. 

Painting and Gilding Wire Screen. — There are different ways 
in use for this work, but raised wooden letters look the best. In fact, 
screen painting by hand is little done now. If you have to paint on dark 
wire place a dark cloth behind it ; if on a light screen, place a light cloth 
behind it. Use a light color size on a dark screen, and a dark color size 
on a light screen. Use slow or quick size, as you may prefer. If the 
screen consists of two thicknesses of wire, and gold lettering is to be 
done, do the lettering on the front wire before it is put on the frame 
over the other wire. A number of handsome sign letters are now made 
for wire screens, and they produce a very rich effect. 

The best way to paint wire screen is to lay it down on a clean, flat- 
top table, and pounce on the color with a large square-end stencil brush, 
or any brush answering the description, pounding the paint on, for if 
the paint were applied in the usual way, with strokes of the brush, it 
would fill the meshes, which must be avoided. The paint should be 
thin, mixed with boiled oil, turpentine, and perhaps a little japan driers. 
Apply two coats. Dry by suspending the wire. A paint thinned with 
turpentine and a little gold size is also good. 

Any part of the painted screen that is to be gilded should be filled 
with white lead, using the dry lead, and thinning to a paste with 
turpentine and gold size. Some use a mixture of whiting and glue size. 
In any case the paint should be rather thick, being careful to get sharp 
edges to the letters. You can paste stiff paper on the back of the screen, 



182 THE EXPERT SIGN PAINTER 

paint in your letters, and when dry the paper may be removed with 
warm water. If you wish to have the letters appear perfectly smooth, 
then apply several coats of the composition, or as many as may be re- 
quired to give a smooth surface. 

Lines, corners, and lettering should all be arranged as in ordinary sign 
lettering, etc. For corners it is best to use a stencil, which will allow 
of quick and clean work. 

The raised effect of gold letters in relief is obtained by gesso treat- 
ment, usually with the aid of stencil plates cut from pasteboard. The 
compo is made with plaster of Paris and weak glue size. The face of 
the letters must be smoothed and sized as for gilding on wood. Another 
compo used is made from whiting 2/3, and white lead in oil 1/3, mixed 
with varnish and thinned out with turpentine. Another composition can 
be made from plaster of Paris made to a paste with a pint of water to 
which has been added 11/2 oz. of pulverized alum. When dry, smooth 
and size with glue size. Follow with gold size. 

Lettering on Glass for Electric Light Signs. — The paint is 
mixed from oil "colors, thinned with good 24-hour rubbing varnish, 
adding a little japan drier and turpentine. When the work is finished 
apply a coat of light colored varnish, and on this apply a sheet or more 
of white tissue paper, and varnish that all over. 

To Color Electric Light Bulbs. — Clean off with soap and water 
and let dry. Then rub with clean, soft rag. Beat up whites of two 
eggs in one pint of clear water, and filter this. Dip the bulbs in this and 
hang up to dry. The best colors are opal, yellow, and ruby ; blue, green 
and purple are not desirable, as they absorb too much of the light. A 
very satisfactory opal dipping is available, and in many cases this is 
preferable to frosting, not being so liable to collect dirt and get black. 
Aniline dye, dissolved in collodion, is used. Coloring mixtures may be 
bought ready for use. Yellow gives a frosted effect. Lamps per- 
manently colored are the only ones that are strictly weather-proof, 
though some of the dyed ones wear exceedingly well. The best way to 
dip is to have the light turned on enough to warm the bulb, then take 
a cup of the dipping solution and raise it up slowly until the bulb is 
submerged therein up to its base; then slowly lower the cup, allowing 
excess of liquid to drain back into the cup. Let the lamp burn until the 
coloring is dry. 

Lettering on Shade Cloth.- — Size with gelatin, dissolved in ten 






THE EXPERT SIGN PAINTER 183 

parts of water to four parts of the gelatin. To each gill of this size add 
fifteen drops of glycerine. The lettering color is made with tube color 
thinned with turpentine, making a flat effect. Two or three coats of 
color make the best job. Use a short and stiff lettering brush. To se- 
cure the best effect of dead color absorb the oil, that is, in the tube color, 
with blotter paper. 

Gilding Letters on Window Shade. — Mix a little burnt umber 
with some quick oil size; umber ground in oil. After the size has been 
applied and left to become tacky, say for a few hours, the gold leaf may 
be applied, in the usual manner. The addition of more or less boiled 
oil will regulate the time of drying of the size. 

Lettering on Polished Granite. — To letter on polished granite, 
or any other polished stone, for that matter, ordinary oil paint will run, 
so that the paint must be a specially compounded one. Take dry, finely 
powdered drop black and mix to a paste with equal parts of sugar of 
lead, boiled oil, a little gold size, and a small amount of spar varnish. 
Thin out to right consistency with turpentine. Apply two or three 
coats of this paint, because the more body of paint there is the better 
will the paint wear. 

To paint carved letters on marble or granite use the best asphaltum 
varnish. 

To Fasten Carved Wood Letters to Metal or Stone Sills. — 
Drill holes in the sill and drive wooden plugs into the holes. Attach 
thin brass plates to backs of letters, allowing the plate to extend a little 
beyond the letters, and along this flange or extended part drill holes for 
small screws, which are to go into the wooden plugs. Use brass screws 
only. 

Correcting Error on Finished Sign. — It may be a misspelled 
word. On a smalted sign the sand must be removed, first laying down 
a T-square at the part that is to be corrected, this serving as a guide to 
the scraping. Then clean off the scraped place with rag and benzine, 
after which the part may be shellacked. Then make the required cor- 
rection with paint, and re-smalt the part. 

An error or blot on muslin sign may be painted out with japan white 
or distemper white, with as many coats as may be required to hide the 
part. Sometimes a muslin patch, sewed on, answers. 

Errors on oil cloth or board sign may be wiped off while wet, using 
a rag wet with raw oil for oil cloth, and the same, with the addition 



184 



THE EXPERT SIGN PAINTER 



of benzine for the painted wooden sign. After which wash off with 
white soap and water, rinse with clear water, and wipe dry with soft 
cloth. 

A mis-stroke with the lettering brush on a gold ground may be rem- 
edied by wetting a bit of cotton wool with water and deftly wiping off 
the color. It is easy to injure the gold this way, hence care must be 
taken to remove the paint with a single deft stroke. 

To Make Both Sides of a Design the Same. — Draw the design 
on good manila paper that is large enough for one-half of the design. 
Draw this and then prick around the lines with a needle or thin awl, 
to make a pounce pattern. Pounce this on to the sign, pounce it in, then 
turn it over to the opposite side of the sign and again pounce in. This 
will make both halves exactly the same. 




Danger from Painted Signs on Plate Glass. — Don't paint 
large, solid backgrounds on plate glass windows. The paint interferes 
with the contraction and expansion of the glass, which is liable to 
cause it to break. The danger from cracking seems to be greater where 
the window is exposed to the south. 

How to Clean Plate Glass. — Mix together one ounce of am- 
monia, one ounce of alcohol, and one ounce of whiting, and water to 
make one pint of polish. Rub this on the glass with a sponge and let 
it dry; then rub off and polish with soft cloth or soft chamois. 

To Clean and Brighten Window Glass. — Dilute nitric acid 
until about like strong vinegar. Apply to glass and in a few moments 
throw on a little whiting; then rub with rag and polish with a dry 
rag. Rinse off with clean water, to which add a little alcohol, and 



THE EXPERT SIGN PAINTER 185 

polish dry and clean. Repeat on opposite side. To make the glass shine 
take a half-pint bottle and place in it two tablespoonfuls of whiting, 
then fill the bottle with ammonia; shake well. Rub on window with 
soft cloth, let stand a few minutes, then polish with flannel. 

To Remove Paint or Shellac from Marble. — When marble 
is sized with shellac for lettering and it, or any other material used 
in the work, extends beyond the letters it may be removed by rubbing 
down with a piece of cuttle fish bone ; it will not scratch the marble. 

Preventing Brush Marks on Back of Glass. — If the letters 
have a gold or dark-colored outline mix the white in equal parts of oil 
and turpentine, with very little drier. When the outline is quite dry 
and hard paint in the letters as smooth as possible; then with a pounce 
of cotton wool in a soft bit of old rag dab the white paint before it 
sets; dab lightly and evenly until all brush marks are obliterated. 

Painting Old Window Shades. — Tint white lead to required 
color and thin with 1/6 raw oil and 5/6 turpentine; make the paint 
thin. Apply with broad, flat brush and as quickly as possible. 

Size for Decalcomania Letters. — To make transfer varnish size 
thin pale copal varnish or damar with benzine, and when it sets put 
on the letters or picture and smooth out. Remove the paper by damp- 
ening, wipe dry, then apply a thin coat of varnish. 

Painting Picture on Drum Head. — Use varnish color. If 
transfer picture, size with varnish. 

Painting Theatrical Display Signs. — They are exposed to the 
weather; and are used only about one week. Mix the color in 1/8 japan 
and 7/8 benzine. Little or no oil required. 

Removing Frost from Window. — The following is claimed to 
prevent formation of frost and sweating. Dissolve two ounces of 
glycerine in one quart of 62 per cent, grain alcohol. Add one drachm 
of oil of amber. Let this stand until it clears; rub the inside of the 
glass with it. 

Good Black for Cutting-In Work. — Many have trouble with 
the black showing gray streaks, on white ground with letters cut-in 
with black. Poor black. Use the very best lampblack, dry, and rub it 
up on the slab with boiled oil ; if necessary to hurry the job, add a little 
gold size japan. Common lampblack is greatly improved by the addi- 
tion of about 20 per cent, of Prussian blue. 

Brush Marks on Transparent Color. — Stipple with a dry 



186 THE EXPERT SIGN PAINTER 

brush, or with a pad of cotton wrapped in muslin. If the finish is 
opaque, give it color enough to shut out all light. 

White Letters to Show Through Glass. — White letters 
trimmed with red border, painted on the inside of the show window, 
may be made beautifully white by using tube zinc white, and for large 
job enamel white will do. The Pillsbury flour people had some of 
these signs, and very beautiful, too. 

Polishing Powder for Glass. — Rub calcined magnesia down with 
pure benzine, to make a mass of consistency that will permit of making 
drops of the substance. Keep in a tightly stoppered vessel. When 
wanted for use, place some of it on a pad of cotton wool or other soft 
material and rub the glass with it. 

To Prevent Sweating of Glass from Injuring Gold Leaf 
Lettering. — Reference is had to the sweating of the glass after the 
job is done. The way that moisture injures the gold lettering is by 
getting under the edges of the letters, gradually forcing the leaf from the 
glass. After backing up the letters and allowing a trifle of the paint to 
extend beyond the edges of the letters, when you apply the varnish let it 
also go beyond the letters and the backing-up paint also. This ought to 
secure your letters against moisture. Use japan gold size for backing up 
gilding on glass. Use good hard-drying varnish. 

Strong Stencil Paper. — To strengthen the paper, for hard use, 
paste muslin on the back of it, and give both sides a coat of boiled oil. 
Shellac or quick-drying varnish is also good for saturating the stencil 
paper. Keep in a cool place. 

Aluminum Bronze Lettering. — Give the ground a coat of flat 
white paint, to which has also been added a little quick varnish. As 
coon as the white paint is set rub on the aluminum powder with a pad, 
or with a piece of velvet or plush goods. Rub the powder well into 
the white ground. When dry it is ready for lettering on, with any 
desired color, and it will prove durable. 

Restoring Color of Gold Letters. — The gold becomes spotty 
and dark in time, and it may be restored in brightness and color by 
washing with a weak acid water, muriatic acid and soft water. An- 
other wash is composed of carbonate of soda 20 ounces; chlorinated 
lime 1 ounce ; table salt 1 ounce ; and clean, soft water 1 pint. Mix 
and apply with a soft brush. 

Panel Work on Glass. — The letter is a black edge lined, colored 



THE EXPERT SIGN PAINTER 187 

center, and scroll work in gold leaf, with the background of the panel 
frosted white. Do the letters with japan colors, back scroll-work with 
gold size japan, panel background covering both letters and scroll-work 
put on with paint made from equal parts of boiled oil and spar varnish 
mixed with white lead. 

Lettering on Celluloid. — Celluloid signs are often used in lunch 
rooms, and are frequently washed. The lettering must therefore be done 
in durable color. Lampblack ground in japan and mixed with spar 
varnish is about the best paint for the purpose. 

A Blended Gold and Silver Letter. — A very fine letter may be 
made by blending gold and silver, as follows: Gild one-third of letter 
deep gold, and when dry etch or scratch ; blend with glass etching brush. 
Gild next section in lemon gold, etch, and finish with silver in the third 
section. Back up as usual. 

Quick Way to do Cheap Signs. — Next to the cut-in method the 
following is the fastest. When several copies of a sign are to be pro- 
duced, for temporary use, it is not necessary that the edges of the letters 
be perfectly true, though with very little care they may be made rea- 
sonably true. Lay out the design or letters and make patterns of them, 
cutting them as perfectly as possible, and avoiding bevelling the edges, 
either in or out; and make the letters as near right as speed will allow. 
Now, instead of using a pencil for outlining the letters, take a sharp 
knife and go around the patterns, the same as a carpenter uses a knife 
and square. With a fine bristle or camel hair brush cut in the letters. 
The cut in the board that the knife made and which may be made as 
deep as desired, absorbs the excess paint that flows from the sides of the 
brush, and the edges of the cut prevent the paint from spreading, at 
least to quite a degree; or, rather, the cut serves as a guide for the 
brush, and enables you to handle it quicker without fear of making 
bad edges. 

How to Green Copper. — Repeated applications of strong vinegar 
or acetic acid alone will produce the verdigris incrustation, but it will 
require more time than the following: Dissolve four ounces of dis- 
tilled verdigris and two ounces of sal ammoniac crystals in one quart of 
strong white-wine vinegar or acetic acid, and wash over the copper 
repeatedly, allowing each coat to dry before applying another. When 
the desired effect has been obtained rinse well in clear water, let it dry, 
then brush with a dry brush. 



188 THE EXPERT SIGN PAINTER 

Novel Method of Making Gold Sign on Glass. — Cut out the 
letters you wish for the inscription, with ornaments if any, from stout 
manila paper, and paste them on the inside of the window in their 
proper places, using a weak paste. Now shade the letters on one side 
and run a line on the other side, the same as if the gold leaf had 
been laid. The whole work is finished before leafing and backing-up. 
After the paint is dry remove the paper letters, wash off the paste, apply 
the size, lay the leaf, and then back-up. 

To compare this method with the standard way, in the latter it is 
necessary to use a weak size, as the edges of the leaf must be trimmed 
and squared up after backing, which a strong size will not admit 
of, and which is often responsible for the leaf chipping off in a little time. 
In the new way the workman may use as strong a size as he fancies, as 
it is not necessary to trim the leaf. It doesn't matter if the gold leaf 
does extend on to the paint, as the paint is between the leaf and the 
glass, and it is only the gold that shows between the lines of paint that is 
observed from the outside. 

It of course takes some time to prepare the paper letters, but if the 
operator does not take too much time at this he will no doubt save time 
over the old way; for, when the inscription is laid on the glass the 
painting can be done at once, and then you have only to wait for the 
paint to dry. 

To the beginner or inexpert workman the method offers an easier way 
than the old, and he can do better work with it, too. 

Lettering on Water Paints. — For work not exposed to the 
weather washable water paints make a good background for lettering, 
the flat, pure tints or colors enhancing the effect. The lettering can 
be done with the water paint, of a different color; or tube colors may 
be used, thinning with gold size japan and turpentine. Any color will 
do, if it does not contain much oil, which would cause it to spread over 
the surface and make a halo about the letters. The letters should not 
be glossy. Gilding may be done on the same surface, in the usual man- 
ner, though the gold size must be made thicker, say with a little melted 
resin. For large letters first fill them in with thin, white shellac, to 
stop suction. An advantage with such signs is, that the water paint 
can be quickly prepared, as it soon dries, applying two coats. Sand- 
paper with fine paper. Ordinary calcimine or glue-sized water paints 
will not do, as the paint sinks in and gives a patchy effect; such paint 



THE EXPERT SIGN PAINTER 189 

would not resist the weather, if the sign were to be used outdoors. 

Colors Visible at Distance. — For sign boards that are to be read 
at some distance there is nothing better than the white letter on black 
ground sign. So-called tests have been made, and scientists have given 
their conclusions, but without displacing the old-time white and black, 
The explanation of the black and white combination is, that black is 
a shade, hence is retiring; white is light, hence advancing; so that the 
white letters go forward to greet your vision. 

Bevel Faced Gold Letters on Window. — For a good job in 
two shades of gold leaf, form your lay-out carefully and do accurate 
work with the pencil when backing-up the leaf. Draw the design on 
paper and prick it in, then pounce it on the outside of the glass, noting 
the exact position of the pattern, so that you can place it in the exact 
position again. Gild first with the light leaf, then set the pattern on 
the back of the glass exactly as it was on the front, pounce it, and 
back up the light part only. When it is hard-dry clean off the light- 
colored leaf not covered by the backing color; put on the deep color 
leaf and again set the pounce pattern on the back of the glass, exactly 
as at first. Pounce it and then back up the deep leaf. It is this way that 
the beveled effect is produced. Another way is thus: After the 
pouncing-in on the front of the glass run a fine line of light Naples 
yellow in quick varnish on the back of the glass, showing in skeleton 
the outlines of the letters and the dividing lines between the deep and 
light leaf. When these lines are hard-dry gild the letters preferably 
the deep gold first, backing up with good varnish color, then do the 
light gold the same way. 

Fancy Gold-on-Glass Sign. — This sign shows a gold outline and 
a transparent letter with a background. Gild and back-up the outline 
in the usual manner, clean up, then coat the whole space with back- 
ground color; then pass a plush roller over it, to give the stippled 
effect. Wipe out the centers of the letters with cotton flannel moistened 
with water. Next, lay in the centers with any desired color, stippling it 
with a small pounce of rag. 

Frosted Silver Sign. — This requires a sheet of steel, properly 
painted. Lay out the lettering with chalk, leaving an outline and shade, 
and, before painting-in, lay on the background for smalting. The 
smalting may be done with coarse smalts, and it must be made clean 
of dust and dirt ; better wash it. . Take one part varnish and two 



190 THE EXPERT SIGN PAINTER 

parts turpentine, mixing both together, and pour it over the entire 
surface of the smalts, and when it has become just right to take gold leaf, 
strew over it aluminum bronze, in the same manner you would put on 
smalts. When this has had ample time to become perfectly dry brush 
off the loose bronze, using a soft hair brush, and then paint in the 
letters, black or any desired color, adding plenty of varnish to the color. 
Don't let the lettering come nearer than a fourth of an inch to the 
sanded part, in this way getting a bright outline or outline and shade, 
as you prefer, to the lettering. The effect is that of a frosted silver 
sign, with very distinct lettering. The aluminum bronze stands better 
than the leaf. 

A Cheap Glass Sign. — Have a sheet of stencil or manila paper, 
and on it draw your design, the size it is to be on the glass. Make this 
design perfectly clear. Having mixed fine bronze powder with varnish, 
thinned to a working fluidity with turpentine, outline your design or 
lettering on the front of the glass, and when this has been done, and is 
dry, proceed to shade it. You may run an outline of black around 
the letters, and when this is dry go over it with a carmine shade, and 
finally apply vermilion, to lap over the other colors as far as you 
choose. Always running the darkest color first, other colors may be 
used in the same way. For a blended effect lay in the bronze as 
directed, leaving proper space for the shade. When this is dry apply 
your colors, with black for the background, for that shows up the colors 
best. Put in the lighter shades first, go over the inside openings of the 
letters with transparent colors, which come in tubes. You may use 
carmine, ultramarine, etc., mixing color with varnish, and then, before 
this is dry, apply tinfoil or other suitable leaf, crumple it and lay on the 
letters. 

Cheap Raised Letter Sign. — Smalt a sign board and when it is dry 
lay it on two trestles. Then stretch two chalk lines along its length, 
these to serve as lines for laying on the letters. The lines must be made 
fast at the ends with tacks. The letters are to be wooden ones, gilded. 
They may be made fast to the board with brass brads. 

Imitation Pearl Sign. — Outline the letters, and fill in remaining 
space with a pearl gray paint, made thin and transparent with Damar 
varnish. When the paint is dry crumple some tinfoil in your hand, 
cut it to the size of the letters, size letters with Damar, quite thin, or 
rather size the foil before cutting it. If outlines are in gold, the 



THE EXPERT SIGN PAINTER 191 

centers may be rilled with gold leaf over Damar size. This gives a matt 
effect. Or the crumpled tinfoil may be laid on the Damar size. 

Spatter Work Sign. — The board background may be painted 
white or any light tint, and when the paint is dry place paper letters, 
neatly cut out, or such as may be bought, on the board, making them 
fast with tacks or pins, and then spatter the work with some color 
darker than the ground. When the spatter is dry remove the paper 
letters, which will be useful again. Coarse spatter looks better than fine, 
hence the air brush or atomizer is not so well as the brush and stick 
method. 

Novel Sanded Sign. — Paint in the lettering on a suitable grounded 
board, and over it sift clean sea-sand. When dry apply gold size, letting 
it go a little beyond the letters; use a slow size. When of the right 
tack lay the gold leaf. Deep gold is best. In about two days you may 
cut in with a deep, glossy green paint ; smalt this with green sand. The 
addition of a little red sand to the green makes a fine effect, but care 
must be taken that not too much is added, as the red sand is heavier 
than the green and unless kept well stirred is apt to settle to the 
bottom. 

A Handsome Sign. — Tinge white lead paint with a little ivory 
drop black, to make it a silver gray; paint a board with this. The 
letters may be painted in pure white ; shade with gold leaf close up to 
the letters. With a glaze of Vandyke brown darken the bottoms of the 
gold shading, blending up into the gold until the glaze fades away into 
gold. Next, shade close to the gold shade with two natural shades of 
the ground color. If any ornamentation or embellishment is wanted 
let it be done with gold. 

Sign that Reads Three Ways. — This was a great favorite years 
ago. A moulding is placed around the sign board, and saw-curfs or 
cuts are made into this moulding about an inch apart and extending 
down to the face of the sign board. Strips of sheet iron or stout tin are 
prepared, an inch wide and long enough to reach across the face of the 
sign board. Paint both sides of these strips the color of the sign board; 
it is advised to paint both the board and tins at the same time. Paint 
the board first, then as you paint the strips you can slip them into the 
cuts at once. When all is dry, remove the strips and letter the board. 
Then lay the strips edge to edge on a table and paint the lettering you 
wish on them, different of course from that on the board. Let the 



192 THE EXPERT SIGN PAINTER 

strips dry, then turn them over and letter another inscription on them, 
let dry, then place in the grooves. As one stands in front of this sign 
he reads the lettering that is on the board ; as he moves away to the left 
he reads the inscription that is on one side of the strips, or, moving in 
the opposite direction, he reads the third inscription. 

Novel Glass Sign. — Draw the design or letters on paper, neatly cut 
out the letters, and paste them properly on the glass. Paint in around 
the letters, cutting in neatly around their edges, and when the paint is 
dry remove the paper with warm water; apply gold or aluminum leaf 
to the letter spaces, which have been sized with gold size ; or colored 
mica or thin scales of mother of pearl may be scattered over the half-dry 
size. Back up with a coat of lacquer. Such signs do only on the inside 
of windows. 

Fancy Mirror Signs. — There are two styles of this sign, the mirror 
background and the painted background. For the former kind get a 
bevelled plate mirror the size you wish the sign to be, and paint the 
back of it with a, quick drying paint, to protect the back of the mirror. 
Allow this coat to become hard, then proceed to sketch scrolls, letters, 
etc., on the back of the glass (a pricked pounce pattern is the best 
way) ; then scratch out the letters, removing the paint and back- 
ing from the glass so that the letters will show perfectly clear when 
held up to the light. Allow no specks to show in the design, for 
they would also show in the finished sign. The letters are to be backed 
up in any one of the following ways: if a gold letter is desired, instead 
of using ordinary gold leaf use fancy gold colored foil, which is cheap 
and looks even better than gold. Use fish glue size, and crumple the foil, 
the more the foil is wrinkled the richer the letter will appear in the sign. 
But if the foil is in streaks, checks or scrolls, as sometimes happens, it 
will be unnecessary to wrinkle it. It is a good plan to have a metal 
plate, if possible, with raised design or scroll, and instead of wrinkling 
the foil press it on to the metal design, a rubber roller being useful for 
the purpose. This will transfer the design to the foil, and make the 
scroll-old effect in the face of the letters. 

If you wish to make colored letters, with gold or silver border, then, 
before laying the foil, paint the letters on the back of those already 
scratched on glass, leaving sufficient border to allow the gold or silver 
to show from the front. Other designs, such as the gold letter with 
black scroll center, gilt letter with black border, etc., are made by trac- 



THE EXPERT SIGN PAINTER 193 

ing with a fine brush such lines as are necessary, before the foil is 
applied. 

The black or colored background sign is made the same way, ex- 
cepting that instead of using the mirror you use plain glass. The next 
thing is to back up the sign, and for this you will require a sheet of re- 
dipped tin, or some such metal, cut as much larger than the sign as will 
be required to come up over the edge of the glass and crimp about a 
fourth of an inch over front. Now place it in any kind of a frame 
desired, and the sign is done. 

Cheap Advertising Signs. — They may be made in many different 
"ways. One of the best is made as follows : Draw your design on paper 
and prick it out so that it may be pounced on the back of glass, but in 
such a way that it will show backwards. Attach it to the back of the 
glass with gummed strips, and proceed to outline it in fine gold striping 
bronze, mixed in a little varnish and thinned with turpentine. When 
this is dry shade the letters. A good effect may be obtained by running 
a black line shade, then when it is dry put in a carmine shade, then ex- 
tend the shade to size wanted. Or you can lay green next to the black, 
and then a lighter shade of green, always having the darker color or 
shade next the letter. To make a blended shade lay in the background, 
which should be black or some very dark color, leaving a space for the 
shading; when dry, put in the shade colors, beginning with the lightest 
and working towards the letter. When dry, paint in the openings of 
letters with transparent tube colors, such as carmine, ultramarine blue, 
etc., mixing with varnish to increase the transparency. When this is 
nearly dry, crumple up some tinfoil in the hands, and lay it over the 
letters; this will finish the work. 

Bas Relief Sign. — For making bas relief signs use papier-mache 
mixed with a small amount of plaster of Paris. As this material sets 
quickly the work must be done with haste. The too rapid setting may 
be retarded by adding to the compo a little arrowroot or vinegar. 

Suggestion for a Fine Sign. — Paint the ground ivory white. 
When dry, set out the lettering with a pencil. Now glaze the letters 
with a little cerulean blue in varnish, then stipple them, to get a 
good transparent and bright blue with a little grain in it. Treat the 
background similarly, but with a little terra verte. When these glazes 
are dry and hard, pounce the sign and write the outline in oil size and 
gild. For a nine-inch letter the outline may be one-quarter inch. 



194 THE EXPERT SIGN PAINTER 

A Window Sign. — A very effective window sign is described as 
consisting of the main portion of the letters having tinfoil reinforced by 
scrolls of blended green and purple; the letters were block style, being 
laid on the inside of the glass, showing as described. 

Novel Stucco Sign. — Either cut out letters from strawboard, or 
get the ready-made paper letters, if you can get them of sufficient thick- 
ness. Fasten the letters to the sign board with small tacks. First paint 
the board with two coats of paint. When dry, mix some plaster of 
Paris with strong glue size, quite thick, and spread it all over the sign, 
after having tacked on the letters. Use a stiff brush. Take a steel or 
other suitable comb and scratch the surface in any design you may 
fancy. When this is dry remove the letters and coat the whole sign 
with two coats of paint. Then gild the rough surface with gold and 
cut in the letters with black. Or you can lay aluminum leaf instead of 
gold, and cut in the letters with dark blue. In either case you will have 
a very attractive sign, one that is also very durable. 

Another way is to put the rough surface on with a composition of 
white lead and fine pumicestone powder, mark out the design, and set 
in carved wooden letters before the compo is dry. 

Imitation Embossed Silver Sign. — After finishing the letters, etc., 
with gold leaf, which may be shaded with some warm, dark colors, put 
in the ornamental design of the embossing with two shades of silver 
gray made of white lead tinted with ultramarine blue and black, mak- 
ing one shade a little lighter than the other. When this is dry coat the 
whole over with clear varnish, to which has been added a little gold size, 
and while the varnish is still fresh sprinkle over it as much aluminum 
bronze powder as it will take, and hold ; this gives it the appearance of 
matt silver. To make the mock embossing on the glass under the letters, 
varnish the design on the glass before sizing on the gold leaf, and where 
the varnish is the glass will appear to have been embossed. 

Cheap Printed Signs. — When a large number of cheap advertising 
signs are wanted, of a more durable sort than those the printer gets 
out, such, for instance, as thin wooden signs, or cloth signs, they may 
be made in the manner here described. First, make a matrix of heavy 
strawboard, cutting out the inscription you wish on the sign, then 
fasten it to a smooth board or glass with paste or cement, making a 
frame around it of quarter-inch wood. Now make a composition of 
equal parts of glue, which has been dissolved or melted in as little water 



THE EXPERT SIGN PAINTER 195 

as possible, and molasses, heat both together and stir until perfectly 
mixed. Next, grease the matrix and exposed parts of board or glass, so 
that the composition will not stick to it, and while still hot pour it onto 
the matrix to the top of the moulding. When it has become cold it 
may be lifted out in a solid sheet of rubber-like form. It may then be 
attached to a rocker, such as the half of a cheese box, or one may be 
made. The sheet containing the lettering may then be glued to the 
rocker. The latter must of course be large enough to take width and 
length of the printing strip. The next thing is the printing ink. Rubber 
stamp ink would do, but is too expensive. You can make an ink from 
lampblack ground in oil and mix it rather stout with oil, adding also a 
little varnish. You will then require a pad, which may be made from 
a board of suitable size, and on it fasten a layer of raw cotton, covering 
with muslin or light canvas. Saturate this pad with your ink. 

Paint the boards that are to receive the printed impressions and make 
them smooth, in order to make nice work. Pass the rocker over the ink 
pad a few times, then transfer it to a board, rocking the printer back 
and forth on the board until the letters look well covered. Be very 
careful the printer does not slip and mar the letters. 

The letters may be shaded with a light color first, then a darker color 
for the face. It should be observed that this shading is put on before 
you pass the printer over the board, or before the lettering is printed. 

If you want to print on muslin get that which has been sized; this 
may be bought, or you can size common muslin with cooked starch 
size, afterwards ironing out all wrinkles. 

If you wish to print the signs on paper, you will not need a rocker, but 
the matrix may be laid down flat and inked, then the paper may be laid 
on it and a board with weights may be placed on it and left there a 
moment or two. 

The foregoing method may be reversed by cutting out letters and 
fastening them to the matrix board and pouring the composition on, 
which will give the letter spaces open, so that when you print with 
them all the sign board will be coated but the letters, which will show 
the ground color, which may be as you wish, or it can be a variegated 
coloring. 

Fine Imitation Embossed Sign. — The name of a business firm 
was done in large Roman letters, having a stout burnished outline of 
gold, with imitation embossed silver body. The outer edge of the gold 



196 THE EXPERT SIGN PAINTER 

outline is edged with a fine line of black, the inner edge having a fine 
line of gray several shades darker than the silver. The silver effect of 
the body of the letters is made by sizing with varnish and dusting 
aluminum bronze over it. The gold and other two outlines or edges 
are first put in, then the body of the letters is coated with a thin, clear 
varnish, Damar being good, to which has been added a little gold size 
and turpentine ; when quite tacky the bronze powder is put on. 

Matt Center Lettering. — The glass must be made perfectly 
clean, inside and outside, as for gilding. Lay out the inscription very 
carefully on the front of the glass, with chalk. Then with a mixture 
of a good quality of slow, light colored rubbing varnish, to which has 
been added a little zinc white, to slightly cloud the varnish, coat the 
space that is for the matt center. The varnish should be right for 
use with a camel hair lettering pencil, and if the varnish is too stout 
thin it with some turpentine. For letters eight inches or less in height 
it is well to put in the center first. On larger letters, say from 16 to 
30 inches, or indeed any size about 8 or 10 inches, it is best to gild and 
outline the letters first. Then after backing the outline and cleaning 
off the surplus gold, put in the varnish center, and when this is dry gild 
on water size and so finish the work. 

There are various ways for preparing the center for the matt effect. 
You may use varnish as already described, or mix equal parts of light 
rubbing and finishing varnish, with just enough lead acetate (sugar of 
lead) to give it a milky appearance. This will show you what you 
are doing. Damar or mastic varnish also may be used, adding some 
sugar of lead. 

Another way is to take some whiting on a soft, wet sponge and apply 
a thin coating to the inside of the glass, and when it has dried apply the 
varnish to the inside of the letters, but leaving a margin between the 
varnished center and the chalk edges of the letters. When the varnish is 
perfectly dry wash off the whiting until the glass and letters are per- 
fectly free from it. 

The varnished center of the letter is gilded when the varnish has the 
right tack; some let the varnish stand until the following day, saying 
that this gives the best job, but much would depend upon the drying qual- 
ity of the varnish size. At any rate, if it is a small sign or job, say 12 
feet or less, it may be finished up the same day. All kinds of varnish 
centers are now put on according to the size of the job, time allowed for 



THE EXPERT SIGN PAINTER 197 

the job, price for the work, etc. For quick, small jobs use Damar var- 
nish tinged slightly with some dry zinc white. 

In any case, when the varnish size is right lay the gold leaf, either 
from the book or from the cushion with a tip. Use pale or lemon shade. 

A very attractive matt center may be made by using gold size and 
with water and a stiff brush spattering the wet size. When the size 
is dry gild with water size. The spatters will take a burnished gild. 

For a rough or stippled center size with Damar varnish to which 
has been added one-tenth its bulk of balsam of fir, one-fifth its bulk of 
quick rubbing varnish, and a very little fine pumicestone powder. Apply 
this varnish and stipple it with a short-bristled brush. When it is hard- 
dry gild with water size and back up with japan chrome yellow. The 
gild may be pale leaf or ordinary, or it may be done with silver leaf. 
You may also vary the colors of the centers of the letters with thin 
glazes of rose madder, verdigris, emerald green, ultramarine blue or 
cobalt blue in the varnish before applying the leaf and allowing the 
glaze colors to dry before gilding. 

The gilding done in this class of work is identical with the method 
given under the head of gilding on glass. Use a three-inch camel hair 
blender or brush for applying the water size, camel hair brushes and 
pencils only being used in glass gilding. Backing or heavy color would 
of course require heavier bristle brushes. 

If the gilding should appear cloudy the size was either too weak or too 
strong, most likely the latter. The remedy is to let the work dry, when 
any cloudiness will appear, and flow on water that is as hot as can be 
used with safety to the glass. Do not go over the same place twice. 
When this has become dry repeat the operation if the gild is still cloudy 
or not entirely as bright as it should be. The hot water washed out the 
excess size. Some add a little gelatine to the hot water. When dry, back 
up. 

The backing up is done as directed in glass gilding, and need not 
be repeated here. 

After having varnished the matt spaces, you have left a margin around 
the letters or the varnish. You then proceed to form the letters, marked 
on the outside of the glass, edging the burnished outline with a thin 
edge of Prussian blue mixed with varnish ; this blue appears as black 
from the front of the glass. After this is dry you may still enhance the 
beauty of the lettering with a red, light blue, or orange line on the 



198 THE EXPERT SIGN PAINTER 

outside of the first dark blue line. After you have finished the outlining 
go back and varnish the back of each letter with spar varnish, going an 
eighth of an inch beyond the outer line to protect the whole. If you 
wish to edge the varnish center with red, blue, black or brown do it as 
soon as you get the varnish center on, before gilding. Use a mixture of 
same drying properties as the varnish center, for if slower or quicker it 
will crack where it over-laps. 

When doing a gilding job on glass you will find it convenient to 
have a small alcohol stove for making water size, and have also a small 
vial of grain alcohol. 

Sign on Imitation Stained Glass. — A correspondent calls atten- 
tion to a fine sign that he says gave a very beautiful effect. The let- 
tering was done with gold leaf, which was nicely scrolled and shaded; 
it looked as though the sign had first been painted on the stained sheets. 
Whatever way this was attached to the glass it looked fine. The let- 
ters may have been put on the glass, it was difficult to tell. Perhaps some 
readers of this will know just how the work was done. 

Quick Gold" Signs on Glass. — A quick way to paint or gild 
several signs of the same kind on glass is to first lay out the sign as you 
want it, then cut out patterns of the letters of some suitable material. 
For gilded letters, place the patterns on the outside of the glass, using 
something that will not dry, to stick them fast, such as molasses. As is 
readily seen, the outlines of the letters may be easily followed either 
with paint or leaf. However, when painted, the better way is to mark 
around the patterns and paint them on the outside. Thus, the patterns 
may be used for any number of signs, and after the first is made the 
remainder may be made more rapidly than to outline each in an off- 
hand manner. 

Glass Signs by Transfer Process. — When a number of glass signs 
of the same reading are required the following process is useful. Take 
a piece of plate glass, highly polished, and with asphaltum varnish cut in 
the inscription on the glass, backwards. Or use the tinfoil method. In 
either way you leave the lettering bare. Acid is used in etching out 
these letters, cutting to a depth of about 1/32 of an inch. This done, 
clean the glass. The acid etching is described under the head of glass 
embossing, which see. 

The transfer process follows. Make up a composition of dry ivory 
black or lampblack and tallow, beeswax, japan drier and asphaltum 



THE EXPERT SIGN PAINTER 199 

gum. Melt the wax, tallow and asphaltum separately, and when re- 
duced to a liquid condition add to them and mix together the black and 
japan, keeping the mixture hot in the meantime. In place of black 
any desired color may be used, but black is most commonly employed. 
When the composition is cold it should be about like soft putty; it is 
then ready for the work. Now with a large, broad-bladed knife, straight 
of edge and not sharp, also a hand brush about two inches wide and 
four inches long, with fine 3/4 inch bristles, trimmed even, so that when 
laid to the glass each and every bristle will touch the glass, you have 
the two important tools to work with. You will need also a bowl of 
water and some sheets of fine tissue paper, the size of the glass. Now 
you are ready to transfer. Place the etched plate glass on the table or 
bench, with the pot of color at your right hand. Take up some of 
the color on the knife and spread it over the etched glass, filling the let- 



f\ 



Arc of Circle Forms the Spur 

ters: then with the straight edge of the knife scrape away all color from 
outside the letters. Now lay a sheet of the tissue paper on the glass and 
with the hand brush press the paper against the black or colored 
filling. Having a sheet of the glass that you wish to transfer the im- 
pression to lying on your left-hand side, take hold of two end corners of 
the paper and lift it from the glass, and if the paste has been properly 
made the paper will lift it entirely from the matrix and appear as a neat 
printing on the face of the paper. Now lay the inked face of the paper 
down on the glass to your left and rub it with the hand brush, lifting 
the paper now and then to see how the work goes, and when you feel 
sure the work is done right wet the paper with a sponge wet with 
water from the bowl until the paper is saturated, when you may lift 
it and the paste will have attached itself to the glass, making the printed 
transfer. Set the glass away to dry for from 18 to 24 hours. In the 
latter space of time the composition will be hard enough to rub roughly. 



200 THE EXPERT SIGN PAINTER 

In making up the transfer paste the relative amounts of the different 
ingredients must be governed by the temperature of weather or room. 
You will soon learn how to prepare it to suit any atmospheric condition. 

This process is used for cutting in letters, designs, etc., for embossing 
with acid. Is also used for backing up gold or silver leaf, either a solid 
letter or an outline letter. It is used for lettering on glass with colors, 
such as red, green, brown, blue, black, etc., and with tinted or tinseled 
backgrounds. The process is much more rapid than its lengthy descrip- 
tion leads one to suppose. 

Pearl and Gold Sign. — Pearl, as it comes in sheets, was once more 
commonly used in fancy sign work than now, especially for bank win- 
dows. It appears to good advantage when set off by brilliant colors, 
with black as a foil. Pearl comes in thin sheets, the trade names of 
which are, snail and aurora. The former is the finest, as it reflects either 
in a concave or convex position, according to the side that is presented 
to the eye. 

In making a pearl leaf sign the parallel lines for the inscription are 
marked out with a pointed bit of hard white soap. If the pearl is to be 
outlined in gold follow the same course as for glass gilding. The space 
where gold is to show is indicated with black, on the reverse side of the 
glass. The varnish used for fixing the pearl leaf may be pure mastic, 
pale quick drying, Damar, or a mixture of copal varnish 1/3, and 
Canada balsam 2/3. Size with any one of these varnishes only as much 
space as will allow you to arrange the pearl leaf before the size sets too 
much ; let the varnish extend a little beyond the letters. But first of all, 
the gilding is done, and when it has become dry set the pieces of pearl. 
The sheets are cut with scissors to fit a space, the edges being trued with 
a file, to make a perfect join. Or you may cut out a tin letter same as 
the one you are going to do on the sign, and on this fit the pieces of pearl, 
arranging the pieces as far as possible so that they will reflect the light 
in one direction, with the convex side up. Size each bit as you take it 
up, and place it on the opening in the letter in its proper position. Press 
it hard. If too much size has been applied the pressing down will cause 
it to squeeze out ; hence it is better to apply the size as thin as possible, 
though not to the point of refusing to hold the leaf properly. Besides 
which, the less size there is the better the leaf will show. Of course you 
understand that the work is done from the reverse side of the glass; 
the varnish is applied with a stiff, short hair bristle brush. 



THE EXPERT SIGN PAINTER 201 

In arranging the pieces try to secure a harmony of colors and uni- 
formity of the pieces. This of course requires time, thought and care. 
Any openings left unfilled may then be covered with small bits, and then 
dust over all the finest parts of the pearl. As there will likely be some 
still uncovered part the back of all may be coated with aluminum 
bronze paint; or if the size is still wet enough dust on dry aluminum 
bronze. The backing up paint for the letters is made rather heavy, a 
pearl-gray paint, thinned with turpentine, with a very little oil and 
japan. The sides of the letters may then be shaded, if desired this way, 
and scrolls and ornaments also may be used. 

When setting the pearl it is well to reverse the glass from time to 
time, to see how the work progresses, how it looks, and if necessary 
changes in the arrangement of the pieces may be made. Most deep, 
bright colors go with pearl leaf on borders or letters in the shading, 
much depending, where several are employed, on the order in which 
they follow each other. As greens with darker greens, reds with browns, 
purple yellow with brown purple, etc., these being carefully blended. 
White also looks well. 

Clear Letters on Frosted Glass. — Rub the glass with whiting 
and water, let it dry, and set out the inscription by marking horizontal 
lines and letters with a pointed stick; then outline the letters in black, 
brown or gold ; when dry and hard the frosting may be done, and while 
still wet wipe off the inside of outline; this makes a sharp, clean-cut 
and readable sign. Another way is to use paper letters, slightly gummed 
on one side, wet them, then place on glass as they are to appear. A 
good way is first to place the letters on paper, as a guide. When all 
the letters are on the glass and dry the frosting may be done, over the 
paper letters and all. Let this dry quite hard. Then dampen backs 
of letters with a sponge and remove same. This will leave the letter 
spaces clean-cut and shapely. Another plan is to cut a stencil of the 
letters out of thin cartridge paper, frost the glass all over and allow it 
to get nearly dry, then place the stencil on the frosting, secure it on all 
sides, then with a stencil brush rub out the frosting inside the letters 
through the openings of the stencil. You must be very careful, or the 
paper will break up the frosting. We prefer to use the outline method, 
it being in the end the quickest and surest. 

Lay-Out of Ornamental Sign on Glass. — Measure a sheet of 
paper to fit the size of the glass that is to be decorated and lettered, 



202 THE EXPERT SIGN PAINTER 

fold the paper at its middle, making the crease sharp, then unfold the 
paper and lay it flat on the table. Now sketch in one-half of the 
design with charcoal crayon, working away from the creased part to- 
wards the opposite side. Then take another piece of paper, size of the 
half sheet that shows one-half the design, and rub it well with some 
dark, dry pigment, using a cloth to rub with. This works like a carbon 
paper. Place this last sheet of paper on the table with its colored face 
up. Fold the design in the middle, along the crease, with the half con- 
taining the sketch outwards, and lay it on the colored sheet. Now, with 
a hard lead pencil, trace the pattern on the face of the paper. Unfold 
the paper and look at it. It sometimes happens that while the first half 
looks well, yet when the whole appears it is not satisfactory. In such 
a case you may make any required alterations with the charcoal crayon, 
and try it over again. Then, if all is right, and you wish to preserve the 
design, trace it over with the lead pencil, doing both halves; then brush 
off the charcoal lines. 

And now the lettering may be done. Snap a chalk line vertically 
through the middle of the design, on the outside of the glass, we assum- 
ing you are doing a window sign. Take a brush dipped in water and 
thoroughly wet the face side of the design, then place it accurately on 
the inside glass, being careful to get the center on the chalked line. 
Working from the center outwards, press out any air blisters or wrin- 
kles, to do which it may be necessary sometimes to pull the paper from 
the glass, maybe half-way, in order to get it smoothed down. Go out- 
side now, and neatly trace the entire design on the glass with a sharp- 
ened crayon, of chalk, but snapping the straight lines. The paper will 
remain wet for a long time, excepting in warm weather, when it will 
have to be dampened occasionally. The lettering may be done after the 
design has been placed. If more than one window is to be done with 
this design it may be removed from one window to another. When 
finally done with it the design may be dried and laid away for possible 
future use. 

The Cut-in Letter. — The board is painted whatever color the 
letters are to be, and when dry it is made ready for lettering by stencij. 
work. The inscription is pricked out on manila paper and printed onto 
the board by pouncing. Then, instead of filling in the letters, the 
ground surrounding them is painted in. This is the quickest way of 
lettering signs of this grade ; quicker and easier too for the learner. The 



THE EXPERT SIGN PAINTER 203 

first of the illustrations shows the stencil work, with a line run at top 
and bottom, to define the same. This is the first move in the painting 
of the letters. The next figure shows the letters outlined, ready for 
the filling-in, which then appears in the next and last of the illustrations. 

In doing cut-in work begin on the inside lines of the letter, as shown 
in annexed illustration. 

How to Hang Signs. — Some cities require signs to be made fast, so 
that no storm can possibly blow them down. All kinds of hanging signs 
must be hung with chains, and fastened with anchor bolts through 
the walls of the building. Wind or side bracing must be made with 
wire cables, fastened with bolts or lag screws. Single wire strands or 
screweyes are not allowed. Signs must not extend from the building 
line more than four feet, and there should be a clearance over the side- 
walk of eight feet. 

You should inspect the sign that you have hung, occasionally, to see If 
it is safely anchored. Since sign hangers began to use expansion bolts 
and other improvements in building and hanging signs accidents from 
improperly hung signs have grown very infrequent. 

Bulletin Sign Painting. — The first requisite in good sign paint- 
ing is a good brush, one that will cut a clean, smooth edge. A few 
camel hair brushes for fine lining and several chisel-edge fitches are 
sufficient on ordinary work. With a good outline of letters to begin 
with the work is two-thirds done, as most any one can run a brush along 
a line. There are several ways of getting an outline — by sketching, 
by measuring, etc., but the surest way is by means of patterns. A pat- 
tern that is cut true will give a true outline, and if the outline is 
followed closely with a brush the letter will be true. We don't mean 
stencils, but patterns cut from cardboard and showing the letter itself, 
and intended to be outlined by marking along the edges with a pencil. 

Stencilling Letters on Sign. — There are several kinds of stencils 
that may be used in lettering. We give herewith three different kinds. 
The first is that shown in the word "DECORATOR," marked No. 1. 
It is the straight-out stencil of the ordinary type. The lettering may 
be any ordinary bold style, drawn on stencil paper and cut out with a 
sharp knife, leaving ties where necessary, these being made to frankly 
cross the bar of the letter at right angles. 

No. 2 is a background stencil. There the background of the letter is 
stencilled. To complete it, a straight line may be drawn either with a 



204 



THE EXPERT SIGN PAINTER 



fitch and straight edge, or a pencil at the top and bottom edges of the 
line of letters. In this way no ties are shown. A background stencil 
is generally only used when the stencil color is darker than the ground. 
No. 2 and No. 2b show the result obtained, first, by the stencil and, sec- 
ondly, the same finished by filling in top and bottom margins. 



DECORATOR 



DECORATOR 



Decorator 
! i oi / 1 n 



D2 



If thought advisable, the pencil or fitch may be dispensed with, and a 
second stencil cut to fill in the top and bottom margins. The second 
stencil would take in the portions necessary to complete No. 2a and 
make it correspond with 2b. 



THE EXPERT SIGN PAINTER 205 

A third type of stencil is one in which the letter is stencilled without 
ties. In this way No. 3 example is produced by the use of the two sten- 
cils marked No. 3a and No. 3b. One stencil plate is made to take the 
horizontal portions of letters and the other plate the uprights. 

Quick Glass Sign Work. — If the sign is to be done in the shop, 
with large letters, and you wish to save the time that it would take 
to prepare a pounce or stencil pattern for the lay-out, mix up some 
whiting and water, with a little mucilage size, and apply this to the 
glass; when dry mark out the lettering; this will give you a lay-out 
that will be clearly visible from the other side. Some use dry white 
lead instead of whiting; in this case first dampen the lead with a little 
alcohol, then it will be easier to mix with the mucilage and water. 

Marble Background on Glass or Wood. — Have a pan that will 
take in a sheet of glass or wood of the size you require, pour into it 
about an inch or so of water, and then pour on to the water any oil 
colors that you wish, red, blue, etc., take a stick and stir around the oil 
colors, which will form them into curled shapes; then allow the water 
to become still. Now take the glass or board that you wish to marbleize 
and dip it carefully face down onto the surface of the water, then lift 
it out carefully, turn it over quickly and lay it down flat to dry. When 
it is nearly dry, with a dry brush blend the colors; if you wish, you can 
then dip the plate again, but not blend the colors. 

In dipping glass some of the colors may run onto the other side, but 
this can easily be cleaned off. When you use a board the ground color 
should be painted first, but with glass the ground color is put on after the 
marbleizing is dry. 

To Attach Aluminum-Back Letters to Glass. — These letters 
are ready prepared for attaching to glass, but require a size to hold 
them. The back of the letter is aluminum leaf, but the face is gold leaf 
with a black border. The best size for the purpose is Damar varnish, 
to which add a little white lead. After attaching the letters protect 
the edges of the black outlines with a pencilling brush dipped in spar 
varnish. 

To Mix Dry Lampblack with Water Color.- — Vinegar is usually 
employed for the purpose. Some prefer a little soapy water, the 
alkali of the soap cutting the grease of the black, and vinegar, or any 
weak acid, will do the same. 

Lettering on Window with Bronze. — Make a quick size of 



206 THE EXPERT SIGN PAINTER 

japan gold size, a little medium chrome yellow, and some of the bronze 
powder. Mix together and add a little good rubbing varnish; it is 
ready. Apply and when tacky rub the bronze on with a velvet pad. 
Two or three colors of bronze may be put on a line of lettering, by hav- 
ing as many pads, one for each color, and doing a proportional part of 
the letter with each pad. 

Painting Box Transparency. — Paint will not get into the sub- 
stance of the glass, hence the paint will be affected by the heat and 
sometimes peel off. Plenty of ventilation is necessary to reduce the 
power of the heat. If the top and bottom of the box are made of screen 
cloth (wire) the trouble of peeling is greatly minimized. Then, the 
paint should not be made brittle, do not use too much driers in it. 

Raised Gold Letter Board Sign. — With smalted background, is 
a very handsome sign, as is also the shaded gold letter with varnished 
background. But here is another attractive sign along the same lines. 
Mark out the letters a trifle larger than the letters are to be in the finish, 
then cut-in and sand the background with well sifted white sand. When 
dry dust off loose sand and apply two coats of flat lead paint, and a coat 
of thin shellac, then size entire surface with slow fat oil, and gild 
solid. Letter in glossy black, leaving burnished gold outline around 
each letter. 

Modern Way of Gilding on Glass. — In former years a strictly 
first-class gold-on-glass sign was made with a bright outline of gold, 
the center being stippled with Damar varnish, and then gilded with 
pale gold and water size. As the second gilding had to be backed-up 
and the surplus leaf cleaned off, as done wit'i the first gilding, this made 
practically two gildings and letterings. The method now is speedier 
and produces just as good a job. The first gilding or outline is of deep 
bright gold, and when it is dry the surplus is wiped off with a damp 
wad of cotton ; then the center is sized in. Slow size is preferred, as it 
makes the most durable job. When the size is right the pale gold is 
applied from the book, the same as on board signs. When this is bur- 
nished the letter is ready to outline or shade, without the second job 
of lettering or backing-up. This method does not give the stippled 
effect, yet it makes a rich, dead-gold center, which many think far 
more handsome. 

There is also a one-gilding method that is used where the price does 
not warrant using two gildings. This is as follows : ' Outline the letter 



THE EXPERT SIGN PAINTER 207 

in black (lampblack in japan) and either concave or center the letter 
with Damar varnish. When dry, gild with water size and back-up. 
When the backing is dry, clean off surplus gold and outline with some 
bright color. 

The Varnished Ground Board Sign. — Formerly, as a rule, the 
letter was sized on the board and a yellow high-light and color shade 
was considered necessary. The process to-day makes the letter as thin as 
possible, and to increase its bulk by putting heavy outlines away from the 
letter. These outlines are made either dark or light, as the background 
may require. This applies to the principal lines of lettering. The small 
lines are one-stroke and underscored, or shaded with a one-stroke shade. 

Making a Fine Bulletin Sign. — Say our space is ten feet high by 
fifty feet long. Prime it with lead paint. Make this paint from 12 lbs. 
of white lead, thinned with a gallon of raw linseed oil and one gill of 
turpentine, with driers. When this coat is dry spot on the yellow 
where it is intended to cut-in the letters. Use medium chrome yellow. 
To the pound of yellow add a pint of linseed oil, one gill of japan, and 
one gill of good spar or clear coach varnish. When this is dry the head 
and base lines may be struck, or, if curved lines are desired, drawn and 
the letters outlined. The letters may. now be cut-in with blue. To a 
pound of ultramarine blue add 6 lbs. of white lead and mix with one 
quart of turpentine. This makes a flat color for the background. To 
add to its attractiveness, it should have a 4, 5 or 6-inch border in a good 
permanent red. This red may be mixed with equal parts of raw lin- 
seed oil and coach or spar varnish, to give a suitable glossy finish. 

Gilding on Paper and Calf-Skin Vellum. — Letters or ornaments 
are gilded on vellum or paper in three ways. In the first way a little 
parchment or glue size is mixed with the ink and the letters, etc., are 
drawn as usual. When they are dry a slight degree of stickiness is pro- 
duced by breathing on them. Then the gold leaf may be applied and 
gently though firmly pressed to make it adhere well. In the second 
method some white lead or chalk is ground with strong size, and with 
this the letters are made. When the size is almost dry the leaf is laid 
and then burnished. 

The third way is mix some gold powder with size and form the let- 
ters with it, using a brush, as in the previous method. Parchment size is 
made by boiling down pieces of parchment or white leather until reduced 
to a stiff jelly. Glue should be broken into small bits, covered with 



208 THE EXPERT SIGN PAINTER 

cold water and left stand until soft, when it may be boiled, after which 
it is to stand until jelled. Isinglass size also is used. 

Gold Letter Sign in 24 Hours. — Give the board a priming with 
thin shellac; in about fifteen minutes sandpaper it lightly, then another 
coat of the shellac. When dry, lay out the inscription, neat and with 
care; size with quick size; in an hour it should be ready for gilding. 
The black for cutting-in with is the usual kind, as described under the 
head of "The Gilded And Smalted Sign." Cut-in and fill with this 
black. Sift smalts on evenly, and use fine smalts. Shake off, paint the 
margin between the head and band, if any, and the bands of the sign, 
using quick-drying color, and it is done. The sign may be sent out the 
next day and hung. Perhaps it might be as well to hang the sign painter 
at the same time. 

Size for Aluminum Leaf. — Thin up some good oak varnish with a 
few drops of turpentine, if the day is warm. If cool, add three parts of 
gold size japan to one part of copal varnish. Clean the pencil in turps 
now and then, which will enable you to get sharper edge on letters. 
If you have trouble with the leaf on a windy day, sew up, with large 
stitches, through three parts of two sides of the book with sewing 
cotton. As each leaf is required tear away the leaf of the book over 
the aluminum you want to use. 

Lettering White on Dark Ground. — It will require two coats 
of white paint to cover well. When the job must be finished at once, 
make the first coat with white lead thinned with turpentine, with 
driers. The second coat make from white lead thinned with equal parts 
of varnish and raw oil, with a little turpentine ; omit driers. Add a little 
Prussian blue to the second coat. To the first coat the addition of a 
little black will help the white cover the dark ground better. The 
paints should be strained through cheesecloth or old stocking. Zinc 
white ground in oil and thinned out with varnish three parts, raw oil 
one part, and a very little turpentine, for finish. 

Black Size for Gold Letters. — In an office building the gold let- 
tering on the glass doors had to be done on black size. The reason for 
this is, a uniformity of all the signs in the building. It is made from 
japan lampblack mixed with quick-drying varnish, adding a little fat 
oil, which will give proper tack for the gold leaf after the black is 
dry. 

Gold Letters with Silver Backing. — This gilding is done with 



THE EXPERT SIGN PAINTER 209 

"half gold leaf," one side gold, and one side silver. It is made espe- 
cially for glass sign work, and is of course cheaper than all gold. 

White Letters on Back of Glass. — In white lettering on the 
back of glass, without a dark outline, it will give a much better job 
to apply two coats, the first rather thin, and the second quite heavy. 

Pouncing on Glass. — The pounce is often used when gilding on 
glass. When this is done in the shop, on the table, there is no particu- 
lar difficulty, but when it has to be done with the glass in position the 
pounce can be attached to the glass with gummed stickers. 

To Prevent Sweating of Glass While Gilding. — It is claimed 
that the free application of grain alcohol to the glass will prevent 
sweating for at least ten hours, even in frosty weather, but there must 
be a fair degree of ventilation in the room. This will not apply, how- 



* 



D 




How to Start Cutting-in Letters 

ever, where there is a gas radiator or stove in the room in close touch 
with the glass. 

Before applying the alcohol wipe off the glass and have it clean and 
dry. 

A Novel Quick Gold Sign. — The entire space that was to be used 
as a sign on a window was coated in black, mixed with japan and some 
quick varnish, just enough to bind the paint. When dry, the lettering 
was cut out with a sharp point, with a straight-edge to get true lines, 
then the letters were cut out with a sharp chisel, being careful to cut 
the edges true and smooth. The letters were then filled with gold leaf, 
silver or bronze. When dry, back up and varnish. 

Lettering on Wire Gauze. — The wire should be painted with 
very finely ground pigment, as Venetian red and black for a brown, 
thinning with turpentine and adding enough varnish to bind the paint. 



210 THE EXPERT SIGN PAINTER 

The paint should be made very thin. Then build up the letters to a solid 
face, by filling the wire screen with dry white lead ground in turpen- 
tine and thinned with japan gold size; use the paint thick, and fill up 
the letters solid and a little raised above the wire surface. Size with 
fat oil and gild in the usual manner. A good way for making the let- 
ters is by using cut-out letters, placing these on the inside, when the 
letters may be painted very rapidly. 

Tin Foil Sign. — Tin foil is difficult to handle, the inexpert will 
discover. Lay the sheet on some smooth, hard material, glass or marble, 
or anything that will serve as well, and smooth out the wrinkle's. Cut 
out the letters as they are to appear on the sign. Fasten the design on 
the outside of the window, and attach the foil letters on the inside. The 
best size for fastening the foil letters is varnish made thin with tur- 
pentine. Tin foil is heavier than gold or silver leaf, and hence must 
have a size that is strong enough to hold. Size the letters and lay 
them in place. Lay a piece of paper over the letter and rub carefully 
with a piece of soft cotton cloth. See that every part of the letter ad- 
heres to the glass. When dry, apply a coat of spar varnish to the 
backs of the letters, the varnish to extend a trifle beyond the letter. If 
the letters are placed on the outside, add a little white lead to the 
varnish size, which will make a cement proof against cold and moisture. 
As tin foil cannot be handled in the same way as gold leaf, the best and 
quickest way is to first take thin manila paper and, using the same size as 
that used for fastening the letters to the glass, give both foil and paper 
a coat and paste them together Spread the sheets out to dry, with the 
paper side up, as the foil is not as likely to stick to the surface as the 
varnish-soaked paper. Be careful not to get any varnish on the face of 
the foil. After the sheets are dry lay out the sign and cut out the letters,, 
using a sharp knife. Cut on a hard surface; glass is perhaps the best. 
The paper backing makes the letters easier to handle and place in posi- 
tion; you don't need to use oil paper, or to treat the paper in any 
way; soaking with varnish size is sufficient. The letters may be shaded 
in the usual manner; it will give the letters a very neat appearance to 
run a fine black line around the edges before shading. 

Crumpled effect may be obtained by taking a leaf of tin foil and 
crumpling it into a ball, then straightening it out just enough to give 
it a uniform crinkle appearance. Cut out and attach the letters on the 
inside of the glass, as the crinkle catches dust on the outside. 



THE EXPERT SIGN PAINTER 211 

There are several different ways of making these tin foil signs, on 
both wood and glass. 

Another Novel Sign. — A rather novel-looking sign is to paint the 
body of the sign on the outside of the glass, then on the inside take 
another color, and run a line around all the edges of each letter as broad 
as desired, or else miter the corners, or use a dark and light color for 
lining them. At a distance this gives the letter the appearance of being 
cut from wood and beveled on the edges. Letters may be painted on the 
outside and shaded on the inside, but when the face is in a light tint the 
shading should be very little darker next to the letter, and gradually 
blended out darker and darker until the outside of the shading is very 
dark. When the face is black or in dark tint, this process should be 
reversed. When the shading is on the inside, the effect is different than 
if on the same side as the face of the letters, which is on account of 
the light shining through the glass, and the colors must be arranged to 
give it the proper effect when viewed from the outside of y the window. 

Arranging Curved Lines of Letters.— When the sign painter 
has a wall space to letter and it will have some curved lines, he will 
sketch the curves without aid of line and chalk, but even he will 
sometimes find it necessary to use the latter helps in certain cases. Say 
it is a circular line at the top of a large wall or fence sign, he will 
fasten one end of the line at the bottom and with a piece of chalk and 
the other end of his line he will describe the desired curve. If space 
admitted and it was desired, he could make a circle in this manner, 
only he would have to take a position with his string's end at the center 
of the proposed circle. Then he meets with some problems sometimes 
in this sort of work. For instance, say he has a long, low wall or 
fence, and a curved line is to be made at the top of the space. With his 
line attached at the bottom he could only make the arc of a circle, not a 
true curved line. He might dig away some earth at the bottom of his 
wall, at its middle at the surface of the ground, and hold the end of 
his string down in the hole thus prepared. But what a crude way. A 
better way would be to first make a lay-out on paper, on a scale of one 
inch to the foot. Then draw foot units on the wall to represent the inch 
units on the paper. The curve on the paper is thus easily represented on 
the wall. 

To form a circle for a sign, such circles usually being comparatively 
small at th'e largest,' if is only necessary to have 'a large pair of wooden 



212 THE EXPERT SIGN PAINTER 

dividers, with a sharp steel point on its ends, such being purchasable 
at painters' supplies shops, a piece of chalk being attached to one of the 
points if not desirable to scratch the sign space. 

To divide a circle into equal portions, as it is sometimes necessary in 
laying out a sign, set the compass or dividers to half of the circle's 
radius; the straight line distance from one to another of six equally 
distant points around the circumference of the circle will be one-half 
the diameter. 

Laying Out a Star. — To make a star within a circle, first make 
the circle with the dividers, then measure off the circumference into 
five equal parts, making a dot at each point. For convenience in illus- 
trating the process let us assume that the dots are marked A, B, C, D 
and E. Run a line from A to C, another to E, thence to B, thence to D, 
and finally to the starting point at A. To make a shaded or double star, 
run a line from the center of the circle to the middle point of each 
ray. Then paint on one side of each point, which will cause the star 
to seem as though standing out. 

To Make a Large Circle. — This has been described but may be 
repeated. Drive a nail at the center of the proposed large circle, and 
attach a twine to it, taking the free end in hand and with a piece of 
chalk describe the circle. This is the method employed where large 
circles are required. 

To Get a True Horizontal Line. — In the absence of a spirit 
level one may get a true level by the following method : Take a piece 
of twine and attach a weight to it, to form a plumb line. If you have 
a ready-made plumb line so much the better. Hold this plumb line 
where most suitable, say mid-way of your wall surface, and mark its 
position with chalk, making a true vertical line. Now form two circles 
on this line, just far enough apart to allow them to over-lap a little. 
Then place a straight-edge across the vertical line where the two circles 
meet and overlap, but exactly at the two points where the lines of the 
circles cross each other. Draw a line there, along the straight-edge, and 
you will have a true horizontal line. 

How to Make an. Ellipse. — The letters E and F represent the 
length of the ellipse, and D-G the breadth. With the dividers set at 
half the length, E-A, set them at D and mark the points C and B on the 
line E-F. These points C-B are the foci or focuses of the ellipse. Now 
insert a pin at C-B as shown, also one at D, then tie a string that will 



THE EXPERT SIGN PAINTER 



213 



not stretch so that it will form a triangle C-D-B with the tied string. 
Now remove the pin at D and with a pencil held at the string tight, 
draw the line D F G E to D and you have a true ellipse according to 
the length and width required. The dotted lines shows the string forms 




a triangle all the while except when passing E and F. The illustration 
shown was drawn on a block just in the manner described here. Usually 
sign painters as well as others speak of an oval, when they mean an 
ellipse; an oval is larger at one end than the other, or egg-shaped, and 
for sign purposes this would hardly ever be called for. 



THE END 



